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January, 1922 

Vol. I— No. 7 


JANUARY, 1922 



Mary Miles Minter — By Flohri 


Elsie Ferguson — By Arteche. . . . 

.. 4 


Ann May 25 

Gloria Swanson 26 

Edith Roberts 27 

Glenn Hunter 28 

Ethel Clayton 29 

Will Rogers 30 

Theodore Roberts 31 

Katherine MacDonald 32 

Editorial — By Mary E. Brown 5 

What I Think of Mary Miles Minter — 

By Jeanie Macpherson 6-7 

The Motion Picture of Tomorrow — 

By 0. R. Geyer 8-9-10 

Bebe Daniels — A Winter Sport 

(Illustrations) 11 

My Favorite Type of Leading Man — 

By Russell Holman 12-13 

Delivering Your Picture — 

By Philip Kerby 14-15 

Confessions of an Interviewer — 

By Russell Holman 16 

What They Wanted to Be (Illustrations) . 17 

Stars of Two Orbits — By Frank Vreeland 18-19 

Back Stage in the Movies — 

By Walter F. Eberhardt , .20-21 

She Believed in Herself — 

By Charles Reed Jones ;.'... . .22-23 

Important — If True — By J. R. McCarthy. 23 
Handicapped by Family Prestige — 

By J. Allen Boone 24 

Beauty Makes a Sacrifice to Art — 

By Charles Reed Jones 33 

Remember the Maimed — By Frank Lyle. .34-35 
A Leading Lady at Eleven — 

By Margaret Kelly 36 

Lady Babbie on the Screen (Illustrations) . 37 
The Good Old Days — By Earle W illiams .38-39 
Wally to the Rescue — By Donald Malcolm 40 
Nazimova Perpetuates Camille — 

(Illustrations) 41 

Passing in Review — By Polly Parrott. . . .42-43 

Out of the West — By R. Evans Otis 44-45 

East Coast Activities — By Leo Leary 46 

The Editor's Page 47 

Ask Dad — He Knows 48 

Reelaffs 49 

Artistic License in Picture Making — 

By Frank Urson 50 

You Chose Miss Lulu Bet't — 

By Frank Lyle 51 

Editorial Offices, 15 East 40th Street, New York City. 
HAROLD HARVEY, Editor F. H. ANSPACHER, Business Manager 

Published monthly by THE MAGAZINE CORPORATION, Indianapolis. Indiana. William J. Dobtns, President; 

George M. Cornelius, Treasurer. 

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Foreign, $4.00. Single Copies in the United States and Canada. 25 cents. Entered as second-class hiatter July 21, 
1921, at the post office at Indianapolis, Indiana, under the act of March 3, 1879. 

Copyright 1921, by THE MAGAZINE CORPORATION, Indianapolis, Ind. 

Western Advertising Representatives 
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Filmplay Journal 





HE motion picture industry is the most spectacularly 
successful business the world has ever seen. 

In fourteen years it has leaped from a cheap novelty 
to fourth place in the race for industrial supremacy. 

Through the magic of its enchantment the home folks of 
Portland, Maine, or Albuquerque, N* M., stroll the streets 
of London or Tokio, climb the Alps, float on the canals of 
Venice or explore the out-of-the-way places of the earth. 

It has brought within the reach of all the people entertain- 
ment of the most fascinating type. It has recreated the 
pageantry and pomp of every age. It has realized in living 
form the tragedies, conflicts and heroisms of the souls of 
men and nations. 

We see in motion pictures a great force for culture, for 
clean pleasure, for entertainment and education. As pro- 
ducers and distributors of such pictures as "Salvage," star- 
ring Pauline Frederick; "Black Roses," starring Sessue 
Hayakawa; "The Foolish Age," starring 
Doris May; "Kismet," with Otis Skinner 
directed by Louis J. Gasnicr; "The Barri- 
cade," directed by Wm. Christy Cabanne, we 
have established a standard of quality that has 
never been excelled. 

"Possession," a thrilling tale of love, pluck 
and adventure, a screen version of the novel 
"Phroso," by Sir Anthony Hope, is a recent 
R-C release. Set in the sun-blest isles of the 
romantic Aegean, nothing is spared to make this 
newest picture meet the highest artistic and moral 

The R-C standard of honesty of purpose will be 
maintained at all cost. An announcement of an R-C picture- 
will always be a guarantee of artistic accomplishment, of 
scrupulous cleanliness. 



/ « // a a r y , IV 22 


ie Swamp" is a story that 
0. Henry himself might have writ- 
ten. It is an ingenious tale of a quiet, 
unobtrusive Chinese boy who earns 
liis living peddling vegetables in "The 
Swamp," the lower east side of New 
York, and the tragic love affair of a 
small-town girl. 

Into this simple story of the power 
of love to heal broken hearts, are 
woven the forces of good and evil, 
the beautiful and sordid, tears and 
laughter, sorrow and sunshine. 

The finished artistry of Sessuc 
Hayakawa has never shown to 
greater advantage than in "The 

This production, the story of which 
is from Hayakawa's own pen. will 
live as long as we are human. 

As a further example of R-C 
ideals, an R-C picture that will live 
long in your memory, you are invited 
to see Sessue Hayakawa in "The 

Film play Journal 

Arteche Goes to the Movies 

Elsie Fergusons impression oj a famous Russian star, the central figure of 
Rita Weimans "Footlights," as it impressed the young Spanish cartoonist, 
who is now contributing his cartoons of screen players exclusively to Filmplay 

January, 1922 


Don't Stop at Hollywood 


A Reader of FILMELAY 

IN THE recent upheaval that swept the land on the heels of an unhappy tragedy in 
the ranks of motion pieture players it seems only fair thai some voiee, not of 
the profession, should speak in its defense. Scarcely an ardent film enthusiast 
myself, but a lover of all that is good in the art of the screen, I recoiled from 
the first accounts of a bacchanalian revel and, as 1 groped helplessly for some loop- 
hole through which 1 might reinstate in my esteem those men and women whose work 
1 had so recently come to admire, there filtered through my mind, like so many stars 
from heaven, the following unbiased and illuminating facts: 

No — this profession is not all lost: its position is merely unique. Nowhere 
throughout the world do we find the hosts of a single art so colonized as are those 
of the film industry in Hollywood. Naturally, its deviltry is more pronounced; like- 
wise, its virtues more prominent. 

Then I dreamed a dream. From the great mass of society, floundering in a 
sea that has long since overflowed its virginal banks, 1 drew upon the transgressors 
in the various walks of life — the nurse, the musician, the broker, and even onr piti- 
able high school friends, so prematurely versed in lascivious venture — and I had them 
all transported to a single spot. There 1 harassed them with the old familiar bark 
that has yelped down the ages at theatrical folk, no matter how lofty their aspirations, 
and rushed to publicity all in their actions that was wrong. Then, to make my game 
complete, I added money and youth — and watched the fun I had started. 

The antics of these followers of paths less under public scrutiny than that of the 
theatrical profession not only rivaled the sensations of Hollywood, but, bereft of pri- 
vacy, pull or a friendly press, eclipsed the vilest orgies in die whole stage world. 
Then I woke up and I came to the conclusion whieh all fair minds must reach — that, 
while the sins of a colonized art may outshine in quantity, there is little that is new 
in the quality of vice; that immorality is playing no favorites; it stalks regardless of 
vocation or creed and besmears unmindful of color or class. 

If we would bemoan the great clamor of Hollywood's crimes we must marvel 
likewise at the gigantic charities emanating daily from that western district, without 
the apology that it is a colony of wealth. If we would emphasize the vastness of her 
depravity we must recognize her virtues in the same big proportion. 

This is no vindication of motion picture licentiousness, but a plain statement of 
facts as I have had the good fortune to see them. The people of the screen want no 
vindication for, truly, they smart the keenest through the indiscretions of their own 
black sheep. With the tables turned, I am forced to ask the serious workers in their 
ranks, who know the injustice of condemning an institution on the misdeeds of some 
of its members, to greet their loving, loyal public and classify apart those hasty hearts 
who said the ugly things and to turn with us to those sober minds with spirits justly 
roused — those men and women of motives pure and tme intent — and delegate 
a cleanup; but to whisper to these folks the prayer which is on the lips of our nation 
today: "For God's sake, don't stop at Hollywood!" 

F il m play Journal 

What I Think of Mary Miles Minter 


M I N- 
TER is the West 
Wind dressed up 
she pherdess; 
she's as refresh- 
ing as ozone 
blowing over 
sun-kissed waters 
and as exquisite 
as a miniature. 

Boiled down 
into a few words 
that's my im- 
pression of a 

Mary and Harvey O'Higgins, 
the author and playwright 

very clever little girl 
who has become one of 
my firmest and most de- 
lightful friends. Her en- 
thusiasm and vitality seem 
inexhaustible — and impossible 
to resist. On hot summer days 
I have been toiling in my study, up 
to my ears in musty eld books and 
continuities, when a voice at the door 
coming from under a mop of yellow 
curls would cry, "Let's go!" — and the 
necessity for work would disappear in the 


breeze which would blow me up in the air in a plane 
or down to the beach for a swim, whichever fancy 

It's this factor of the unexpected that has made 
the success of Mary Miles Minter. For just as you 
think you have her classified — poof! — and she's 
done something that's entirely apart from the usual. 
It's a very colorful personality that can so flash light 
from a hundred different facets; a personality that is 
developing as she grows out of her teens into some- 
thing that will be a true delight in its full maturity. 
Quicksilver Mary! 

And it's a personality backed by a remarkably 
clever brain. Most people get fooled by Mary's 
beauty. They seem to consider that it is impossible 
for a girl so pretty to be intelligent. But let me tell 
you right now that Mary Miles Minter is one of the 
best informed young women I have ever met. Her 
judgment and knowledge are away beyond those 
of the average girl of her years, due largely to 
her long years of contact with the public. 
What young actress can you name who 
spends four nights a week in study? 
And nothing is ever allowed to in- 
terfere with these engagements. I 
know, for I've tried! 
She's a strange combination of 
the practical and the dreamer — 
this Mary Miles Minter. Quick 
and concise in her judgments, 
boyishly frank and direct in 
her opinions, she yet has a 

Mary in her favorite type of pari 

Jennie Maepherson 
wake of a human 

"What I Think of Mary Miles Minter." is the fifth artielc in 
Filmplay's series, "Film Stars, by Those U "ho Know Them Best." 
Miss Maepherson, the author of so many of Ceeil B. DeMille's 
successful screen productions, is one of the leading writers for 
the screen. She and Miss Minter, neighbors in Hollywood, 
spend much of their hard-earned spare time together and the 
friendship which has grown up between them is remarkably 
strong. She writes of Mary as only a sincere friend could 
write. Read her article and know the real Mary Miles Minter. 
Next month Dorothy Dalton will be described by her father, 
and in future issues other film celebrities will be the subjects 
of articles by those who know them as they really are 

January, 1922 

mysticism from watching the sea lor ships that 
believes in fairies! And there is in her eyes the 
look of some blue-eyed, blonde-haired Viking who 
sat on top of his glacier and developed a brooding 
mysticism from watching the sea for ships that 
never returned. 

Beowulf undoubtedly had it as he gazed from the 
prow of his burning ships, and I can imagine it in 
the glance of Peer Gynt as he talked to the Moun- 
tain Trolls. And certainly it was part and parcel 
of Brunhilda, the Unafraid. A look, in other words, 
that peeps just over the Borderland into things that 
others do not see. That's Mary Miles Minter, the 

Then on the other hand, there's Mary, the Efficient ; 
Mary who remains calm, cool and collected when 
horses are running away or the motor cuts out in 
an airplane; Mary who, in a business conversation, 
can keep as straight to the point of an argument as 
the most astute Captain of Industry. 

It's a strange combination, the Practical Mary 
and the Dreamer Mary. It has created three dom- 
inant characteristics: unswerving loyalty to friends, 
charity to a fault and splendid tenderness. 

If you're a friend of Mary Miles Minter* you're 
one in the fullest sense of the word — and no one had 
better say a word against you or she'll sweep the 
place like the little West Wind militant she is. It's 
a loyalty shorn of diplomacy, a loyalty that some- 
times loses friends — but an unusual and 
splendid trait in a world of people too 
much inclined to follow the line of least 
resistance. And it's a loyalty that car- 
ries a standard for you also. Mary 
is hotly, boyishly frank toward any 
friend who falls below the ideals 
she has set — but if you were to 
suffer sudden trouble — you'd find 
brusqueness immediately re- 
placed by an abiding tenderness, 
and overwhelming desire to 
"help out." I appreciate this 
opportunity to give my impres- 

Her beauty is of the classic type 

sions of Mary Miles Minter because I feel so few people know the 
real Mary. And what 1 have said is in no sense flattery, but a heart- 
felt tribute to a little friend, the most refreshing of all my acquaint- 
ances. Her superabundant vitality is all-pervading, and she is as 
good for one as the breath of an electric fan when the thermometer 
registers 110 degrees in the shade. This vitality of Mary, her com- 
bination of dreaming and practical- 
ity, her careful education and 
her bewildering unexpected- 
ness provide her with a 
well of professional po- 
tentialities such as can 
be shown by but few 
present-day actress- 
es. Glorious and 
splendid as is the 
Realart star of 
today, she 
only beginning 
to fiulfill the 
promise of her 

Editor's Note: 
Miss Macpher- 
son's charming 
character studv 

Mary Miles Minter 

Mary and her grandmother 

of Mary Miles Min- 
ter is particularly in- 
teresting because it 
presents the young star 
just as she is — a very real 
and very lovable personal- 
ality. Having known Miss 
Minter for many years, I can 
vouch for the truthfulness of Miss 
Macpherson's appreciation of her. 
When one stops to realize that her entire 
life, with the exception of the first four 
or five years, has been spent in the 
theatre and studio, one can appreciate what a remarkable 
girl she is. With every opportunity to become spoiled as 
the pet, not only of her co-workers, but also of her audi- 
ences, she has remained as simple and unaffected as the 
average school girl. 

A brief review of her career is essential to a complete 
appreciation of what an unusual product of a theatrical 
environment she is. 

Mary Miles Minter was born in Shreveport, La., April 1, 
1902. When she was only five years old she made her pro- 
fessional debut with Nat Goodwin in "Cameo Kirby," and 
.'-he has been before the public ever since. At no time has 
she ever found the opportunity to attend school, but has re- 
ceived her entire education through (Continued on page 52) 

F i I m play J our n a I 

The Motion Picture of Tomorrow 


By O. R. Geyer 

ONCE in four years the political clans gather to pro- 
pound the age-old question which has to do with the 
future course of the ship of state, all of which is a 
thinly-veiled attempt to penetrate the mystery of tomorrow. 
By taking stock of the past and employing the subterfuge of 
casting a weather eye towards the future, these wise poli- 
ticians are able to arrive at their quadrennial horoscopes, in 
answer to the self-propounded question, '"Whither are we 

Having successfully paased through what is commonly 
known as the golden age of the motion picture, the industry 
today stands in need of the services of a horoscoper, and it 
is the purpose of this article to supply this need as fully as 
possible. So headlong and impetuous has been the rise to 
fame and fortune of America's fifth greatest industry, that 
little attention has been paid to sifting the events of the past 
for possible clues as to the future course of the industry. 

What will the next five years hold in the way of reward for 
the genius and hard work which have given the motion picture 
its present rank in domestic and world affairs? Will the 
golden epoch of the last five years, in which the industry 
made its dizzy ascent from infancy to the heights of a bil- 
lion-dollar enterprise, be repeated or excelled in the coming 
five years? Has the motion picture screen reached its highest 
form of perfection and usefulness? In what direction will 
future progress be made, provided the industry has not at- 
tained its full growth? These questions are awaiting the 
attention of the one who would predict and forecast the 
future of the motion picture industry. 

The history of the motion picture, as time is measured, is 
brief indeed. Measured in the form of results obtained, its 
history is replete in incidents which thrill the imagination. 
Born fewer than twenty years ago as a tiny and vagrant spark 
of genius, the motion picture screen shortly thereafter began 
a career of development and expansion which has scarcely 
been equalled in the industrial and artistic life of America, 
or of the world, for that matter. Fewer than five years ago 
it was just beginning to give promise of those achievements 
which have since become the marvel of the world, and which 
have been unfolded in the 
kaleidoscopic manner of the 
screen itself. 

With approximately 15,- 
000 theatres catering to the 
amusement hungry masses in 
America, and with an equal 
number literally swamped 
with the millions of patrons 
in other lands, the motion 
picture has earned for itself 
the right to be termed as one 
of the essential and neces- 
sary arts of the world. The 
number of theatres in opera- 
tion today is but a drop in 
the bucket compared to the 
needs of the world when the 
motion picture screen has 
completed its conquest so 

"After five years of uw a happier world is beginning to turn 
its attention to the perfection of the motion picture urt. While 
film producers and the distributors are scurrying about in 
search of une.xploited markets, the industry's inventive genius is 
giving serious thought to those problems still awaiting a happy 
solution. What will the next five years hold in the way of 
reward for the genius and the hard work which have given the 
motion picture its present rank in domestic and world affairs:' 
Will the golden epoch of the last five years, in which the 
industry made its di:zy ascent from infancy to the heights of 
a billion-dollar enterprise, be repeated or excelled in the com- 
ing five years? Has the motion picture screen reached its 
highest form oj perfection and usefulness? In what direction 
Kill future progress In made, provided the industry has not 
attained its full growth?" 

Thus does Mr. Geyer, a student oj motion pictures and their 

development throughout the world, state his ease and lay out 

his problem of forecasting the future of films. Read what 

he has to say and you will agree that the possibilities of 

the motion picture have just begun to be realized. 

effectively begun in the United States. At the present time 
the United States has approximately one-half of the total 
number of film theatres' in the world, with an estimated daily 
attendance of from 15,000,000 to 20,000,000. The remaining 
15,000 theatres scattered about the 'world entertain from 
5,000,000 to 10,000,000 persons daily, according to conserva- 
tive estimates, making an average dailv attendance of from 
20,000,000 to 150,000,000 persons in all' of the motion picture 
theatres of the world. 

After five years of war, a happier world is beginning to 
turn its attention to the perfection of the motion picture art. 
While film producers and distributors are scurrying about in 
search of unexploited markets, the industry's inventive genius 
is giving serious thought to those problems still awaiting a 
happy solution. Due to the war and the unsettled state of 
affairs which has existed during the reconstruction period to 
date, the motion picture industry in Europe and other parts 
of the world intimately connected with the world war — with 
the exception of the L nited States — is from five to ten years 
behind the times in the point of both physical and artistic 

In Europe, Asia, Africa and Australia there has been no 
theatre building of any consequence for more than seven 
years. Even those countries not engaged in the war have 
found it difficult to obtain building material, and the motion 
picutre industry has suffered a world-wide stagnation as re- 
gards its physical development. The time has come to 
remedy this state of affairs, and the next five years undoubt- 
edly will witness a spirited theatre building boom in all 
civilized parts of the globe. 

It is in the physical development of the industry that the 
world will witness the greatest changes in the coming five 
years. Even the United States, which was not nearly so 
hampered by the restrictive influences of the war, is far short 
of the total number of theatres required to entertain properly 
the millions of present and potential fans. Approximately 
20,000 motion pictures houses will be required to cater to 
the tens of millions of motion picture fans in the United 
States in the coming years. In addition thousands of inade- 
quate, makeshift houses will 
give way to what is common- 
ly known in the larger cities 
as the million-dollar theatre, 
lor this is the age of luxury 
in the presentation of motion 
picture entertainment. 

The world today is con- 
fronted with the immediate 
task of doubling the number 
of motion picture theatres if 
it is to continue an active 
competitor of the United 
States. More than 15,000 
theatres are urgently re- 
quired today in those coun- 
tries in which the motion 
picture has made its greatest 
progress, notably Great Brit- 
ain, France. Italy. Australia. 

J a n ii.d r r. J 9 2 :l 

Central Europe, Spain and South America. When the in- 
vasion and conquest of other sections of the globe are com- 
pleted, there will be need of many thousands of other theatres. 
As an example, there is the China of 100,000,000 population 
with but thirty motion picture theatres! And India with but a 
few hundred theatres to cater to the needs of a population 
almost as great. 

A few years from now approximately 100,000,000 persons 
will be attending the motion picture theatres of the world 
daily. The world will turn over its entire population before 
I he movie theatres once in fifteen days. On a basis of an 
average admission charge of ten cents the approximate daily 
revenue of the industry would be 810,000,000, or at the rate 
of >>:>,500.000.000 a year. In view of the fact that the general 
average admission price will be considerably higher, it un- 
doubtedly will be more nearly correct to place the an- 
nual revenue of the industry at about $5,000,000,000. Of 
Miis huge sum, America's share, now in the billion-dollar 
class, will be approximately one-third. 

As a means of obtaining greater efficiency in satisfying the 
world-wide appetite for screen entertainment, it will be neces- 
sary for the leading producers to establish chains of studios 
lliroughout the world. Los Angeles, New York, London, 
I'aris, A ienna, Stockholm, Berlin, Rome. Madrid, Moscow, 
I'etrograd, Constantinople. Tokyo, Pekin, Sydney, Buenos 
Ay res, Rio de Janeiro, Mexico City and Havana will some 
day be producing centers in the far-flung battle line of the 
American producers for the complete conquest of the world. 

ONE of the leading American producers has already com- 
pleted its London studio and has completed the organiza- 
tion of producing companies for France and Germany. Unless 
all signs fail American studios will be in operation or under 
construction in these and several additional countries within 
(he next three years. Other American concerns have made 
arrangements to build or purchase studios in London and in 
I'aris, and in a few years at least half a dozen American 
companies and individual producers will be at work in 
European studios of their own. 

The chief reason for this great studio-building boom is one 
of the few beneficial results of the world war — the creation 
of a new spirit of internationalism. Instead of producing 
films for the entertainment of American fans, the producers 
are now striving to produce international pictures which will 
appeal to the motion picture lovers in all countries. The day 
of sectionalism or nationalism in motion pictures has passed, 
and with it has come the day of internationalism. Film 
stories having little or no appeal for the fans of other coun- 
tries are not wanted in the leading American studios today. 
Sales drives for the entire world are carefully planned on 
each production, and the story which offers few possibilities 
for maximum results in world-wide sales has less than the 
proverbial Chinaman's chance in the larger studios. 

The film stories of the future will be produced insofar as 
possible upon the locations actually described in the story. 
The manufacture of foreign scenes in American studios is 
rapidly becoming a thing of the past, and when other old 
world studios are in operation will become a relic of the dark 
ages in motion picture production. An example of the pres- 
ent-day trend can be found in the case of the first American 
picture to be produced in the new London studio of an Ameri- 
can company. This was a famous English melodrama, with 
scenes laid in Devonshire, Paris and Switzerland. Every 
exterior scene was photographed on locations actually de- 
scribed, the company spending many days on a Swiss glacier 
and in Paris. With the London studio as the hub of its 
European activities, the American producers expect to pro- 
duce a great variety of stories with locations in France, Spain, 
Switzerland, Italy and Scandinavia. 

During the war the screen earned for itself the name of the 
international language of the masses. It has been hailed as 
the greatest civilizing and educational influence in the world 

today. Rightly and intelligently used, it will be the greatest 
single influence at work for the abolishment of international 
quarrels and prejudices. National and interracial jealousies 
and dislikes, the greatest stumbling blocks in the way of a 
useful, virile league of nations, can be best eliminated through 
the medium of the screen. Once the different peoples become 
better acquainted with the literature, customs, manners, ideals 
and scenic beauties of their near and distant neighbors, there 
will be far less friction and misunderstanding of policies 
and aims. 

The great use made of screen propaganda during the war 
is an example of the good uses to which the motion picture 
of tomorrow will be put by farsighted statesmen desirous of 
world peace and brotherly love. No babel of tongues can 
stand before the visual powers of the screen, and until this 
fact is realized the political developments of the industry in 
the coming years will be the extension of the intelligent use 
of the screen as a means of propagating the spirit of inter- 
national brotherly love. The screen's ability to visualize and 
give the breath of life to national policies and ideals: its 
ability to ignore boundary lines, racial classifications and the 
confusion of tongues in reaching the masses of people make 
it the greatest single medium for the development of a genu- 
inely helpful and far-reaching league of nations. 

Tbe artistic development of the screen during the coming 
live years promises to be one of the outstanding achievements 
of the industry at large. But two great problems remain to 
be solved before mechanical perfection is attained in this 
department. One of these is the discovery of an economical 
natural-color process and the other is the attainment of 
stereoscopic photography. Inventors have found several 
methods of applying colors to films, but none is regarded as 
being practical enough to warrant its introduction on a large 
scale. Leon Gaumont, the famous French producer, is one 
of the latest to announce the discovery of a color process, 
but time will be required to demonstrate its practicability for 
every day use in the laboratories of the various producers. 
The depth and sharpness of stereoscopic photography have 
long been desired as a means of bettering the screen, and this 
is a problem which undoubtedly will be solved within the 
next two years. For many months leading experts in America 
and abroad have been giving much attention to the solving of 
these problems, and another few years should witness their 
complete triumph. 

THE present-day trend of the movies toward fewer and 
better stories will become even more pronounced in the 
near future. The vast treasure houses of the world's litera- 
ture, ancient and modern, will be ransacked by ambitious 
producers in the spirited competition for the improvement of 
• film stories. More time and more money, of course, will be 
required to make this departure a success, and the cost of 
production undoubtedly will mount considerably higher in 
the future. The adaptation of such world-famous stories as 
"Toilers of the Sea," "Camille," "Peter Pan," "The Four 
Horsemen of the Apocalypse," and others whose names have 
been announced in recent months are film signboards of the 
limes which promise much for the artistic development of the 

The abolishment of many of the evils of the so-called star 
system is another promise of a brighter future for the photo- 
play patrons of the .world. The practice of subordinating 
story and direction to the star is gradually disappearing, due 
in a large measure to the foresight of a few individual pro- 
ducers. In place of the star system is coming a more perfect 
combination of acting, direction and story material. The days 
when a world-famous story can be butchered to make a 
holiday for a star are numbered. Productions with all-star 
casts, with no individual predominating, are coming into 
vogue and are rated as the best money makers in the industry 
today. Five years from now, unless all signs are misleading, 
stardom will be obtained upon dramatic merit as well as 


F ilmplay Journal 

pulchritude, a state of affairs which promises much for the 
future artistic rating of the industry. It is no longer a secret 
that the big revenue producers in pictures are not the pro- 
ductions of the stars. 

The uses to which the motion picture will be put in the next 
few years are practically unlimited, as the result of successful 
innovations and experiments of the last two or three years. 
One good example of the versatility of the screen is found in 
the important part the screen has been made to play in the 
last presidential campaign. For the first time in the history 
of political campaigning, motion pictures have been used on 
a large scale by both parties, and the experiments have been 
so successful that no campaign of the future will be complete 
without a motion picture department. Both the Democrats 
and Republicans inaugurated motion picture bureaus early in 
the campaign, producing films visualizing campaign policies 
and the platforms of the presidential candidates. 

One of the most important developments of the future will 
be the increased use of films in the various departments of 
the government. From the President down to the last mem- 
ber of the cabinet, there has been a constantly increasing 
tendency to employ the screen in familiarizing the public 
with the various governmental functions, and it would not be 
surprising if a highly trained motion picture expert were 
employed to create an efficient motion picture bureau for the 
use of all government departments. 

FOR several years the department of agriculture has been 
one of the most important users of the screen as a means 
of reaching the public. To date more than 450,000 feet of 
film have been prepared to acquaint the farmers with better 
methods of farming. These films cover 112 subjects, 460 reels 
being in constant circulation. Every subject from the build- 
ing of silos and crop rotation to the work of canning and 
pig clubs is covered in the constantly increasing circulating 
screen library of the department. As these pictures are 
exhibited annually to approximately 1,000,000 persons, it is 
not difficult to imagine the important part they play in the 
making of better farmers and more efficient housewives. In- 
asmuch as the department is committed whole-heartedly to 
its present screen policy, it is expected that the animated 
library will reach a total of 1,500,000 feet within the next 
five years. Through this medium the discoveries and ex- 
periments of the world's foremost farm experts are made 
readily available for the farmers of the country. 

The use of films in schools and churches already has 
reached a tremendous scale and there are several large cor- 
porations which specialize in this business of supplying edu- 
cational motion pictures. Several of the churches have mo- 
tion picture bureaus for the preparation of religious films, 
and educators in all states are turning their attention to 
effecting a happy combination of text books and films. With- 
in the next five years every modern city school will be sup- 
plied with equipment for the projection of educational sub- 
jects, and thousands of churches will be making use of the 
screen to spread the teachings. 

One important innovation of the future will be the employ- 
ment of the screen as a medium of preserving in visualized 
form the history of the country. The state of Iowa already 
has a historical library of more than 50,000 feet of film, in 
which the customs, manners, prosperity, civic development 
and other matters of current history are preserved for the use 
of future generations. Such a library will be invaluable for 
the historian of the future, and the practice of preserving 
current history in film form is apt to be greatly accelerated 
in the future. Every city and town of the future will have its 
own civic film library through which it can visualize for 
future generations the growth and progress of the city. 

Still another form of helpfulness which will be exacted of 
the screen will be the dramatization of the vagaries of the 
weather. Tornadoes, cyclones, snowstorms, blizzards, weath- 
er maps, rain storms, clouds and kindred subjects will be 

stalked in their lairs by scientists operating motion picture 
cameras. Air currents, both bad and good, will be catalogued 
through the help the camera can give meteorologists in study- 
ing their causes, their origin and destination, thus making 
the air a safer place for the flyer. The weather map of the 
future probably will be thrown upon the screen in thousands 
of motion picture houses, enabling farmers, shippers and 
others whose business hazards are increased by weather con- 
ditions to regulate their affairs with the aid and co-operation 
of weather experts. 

The utilization of the screen for scientific and medical re- 
search is already in vogue, and there is every indication that 
this innovation will be a most important factor in increasing 
mankind's knowledge of science and its mysteries. In a 
number of cases the motion picture camera has been used to 
visualize the process of difficult operations in order that sur- 
geons and medical experts could give more time to the study 
of the case than was possible in the haste of an operation. 
These camera studies are made available for the use of stu- 
dents and physicians in all countries, and the development of 
this departure in the coming years will be of great assistance 
in the cataloging and eradicating of the diseases and ills to 
which mankind falls victim. 

The study of plant and animal life through the medium of 
the camera has already been undertaken on an important 
scale, and more and more attention will be devoted to the 
utilization of the screen for this purpose in the future. One 
of the most important achievements of the motion picture 
camera in recent years, and a straw which shows the direction 
of the scientific mind of the future, was the filming of 
Shackleton's dash for the South Pole. Through films taken 
by the daring explorer millions of persons throughout the 
world have gained their first insight into polar conditions. 
These pictures form an invaluable record of the work of the 
explorer. Future expeditions into polar regions and the 
innermost recesses of unexplored continents will not be com- 
plete without a motion picture record, and the result will be 
the popularization of the discoveries of explorers, instead of 
limiting their lessons to the confines of museums and scien- 
tific tomes. 

THE application of the film to industrial purposes has 
already reached a high plane, and the coming years will 
witness a vast increase in the tendency to make use of the 
screen in popularizing industry. Industrial leaders, as well 
as workers, are being benefited by .a more intimate acquaint- 
ance with methods and machinery used in model factories 
about the country. In addition the public is given an insight 
into the manufacturing processes which convert raw material 
into the necessities of life, a very beneficial form of propa- 
ganda which is being used on a constantly increasing scale. 
The coming years will witness a great increase in the use of 
industrial films for educational and advertising purposes. 
The screen already has attained high rank as an advertising 
medium and ranks second only to the printed word of maga- 
zine and newspaper as a sales instrument. 

The world-wide appeal possessed by a visualized idea is 
sufficient to make the future development of the advertising 
possibilities of the screen a matter of considerable impor- 
tance. Screen advertising promises to become as much of an 
art as the other branches of the professions, and the continued 
development of this new avenue will be awaited with keen 

Although an infant in years, the film has already invaded 
the provinces of the stage. Today practically every resource 
of the stage is available for the screen, and the mad rush of 
producers to corner the market for motion picture rights to 
stage plays is the flood tide of the day of closer co-operation 
between stage and screen. Because of its necessarily limited 
■ appeal, the stage must seek some other outlet if it is to reach 
the great masses of the people, and the motion picture is the 
chosen medium. During a long and (Continued on page 53) 

January, lit "2: 


Bebe Daniels — A Winter Sport 




Although Hollywood seldom offers 
opportunities for indulging in win- 
ter sports, Bebe discovers that one 
corner of her studio has been com- 
pletely snowed under and that a 
huge drift of the finest table sail 
invites her to try out her newly ac- 
quired skis. Somewhat puzzled as 
In the best way to put them on. she 
examines the Norwegian playthings 
with great care, measuring them 
with her big brown eyes, and de- 
cides that she knows exactly how they 
should be adjusted, never for a mo- 
ment thinking it would be far sim- 
nler to lay them flat on the property 
snow and slip her feel into them 

Hilling eventually succeeded 
in strapping on the skis, she 
supports herself with the staff 
anil, standing very straight. 
proudly surveys the pointed 
landscape, enthusiastic over 
her prowess as a sportswoman 

Her pride is a bit premature, 
however, jor the moment that 
she attempts to step oat on 
the skis things grow exceed- 
ingly complicated and for 
every step forward she 
makes two steps backward 


Film play Journal 


My Favorite Type of Leading Man" 

k ND I learned about 
l\ actors from 
1 JL him—" 

Thus, in the manner of 
Kipling, might sing the 
busy film beauty. Every 
eigbt weeks she starts a 
new picture; and for ev- 
ery new picture there is, 
in all probability, a new 
leading man. 

For, as long as the 
public craves love stories 
upon the screen — and 
that will probably be al- 
ways — there will be a 
woman and a man to play 

the roles of the chief EllioU Dexter 

protagonists. For every 

feminine star there will be a leading man. You see her 
on the screen wooed, in one picture, by a tall, dark man; 
in her next, the hero has been mysteriously converted into 
a blond lad with a bristly moustache. ( All blond mous- 
tachioed men are heroes; the brunette kind are villains.) 
Her five pictures that follow reveal her, in their respective 
final close-ups, clasped in the arms of five various and as- 
sorted types of leading men. Perhaps you are interested so 
exclusively in the star that you pay little attention to the 
heroic gentlemen who play opposite her. Perhaps, on the 
other hand, you are one of the many who believe that a star's 
performance in a picture may be "made" or spoiled utterly by 
her leading man. And often, undoubtedly, especially when the 
action of the picture is not riveting all your attention, you fall to 
wondering about the actual feelings of the star and her leading man 
toward each other, and reactions like this dawdle through your mind 




By Russell Holman 

On the Screen: The heroine registers anger by beating the 
hero's chest with her flyweight-sized fists. 

You (musingly from your seat in H-4): "He's a poor ac- 
tor; I wonder if he really does exasperate her." 

On the Screen: He and she embrace with more than the 
normal amount of enthusiasm. 

You: "Why, they do it as if they were actually in love. 
Perhaps, outside the studio, they're sweethearts." 

Comments of Other Spectators: "He's so handsome! I'll 
bet she's just crazy to get him to play opposite her." 

"Ugh! I hate him! I'd break my contract if I were a 
star and had him for a leading man." 

"No wonder they do so poorly in love scenes — off the 
screen they're married to each other!" 
And so it goes. 

How do the lady stars actually feel about it? Our 

blase friends say that the lovely cinematic senoritas 

"feel" not at all, that all leading men look alike to them, 

that Klieg-love, whether dispensed by Wallace Reid or 

Bull Montana, would arouse the same emotions in them. 

Our ingenue friends refute this indignantly. "I have 

known stars to demand the insertion in their contracts," 

exclaims a confirmed lens lizard, "of clauses specifying 

that certain actors must play opposite them in all their 

pictures. Look at Bill Hart and Jane Novak — you don't 

call it coincidence that they've been seen together on the 

screen so often, do you? Once in a while a star 

w refuses to appear with an actor who has been 

chosen by the powers that be as her 'lead.' 

I know!" 

Perhaps he does, but we decided 

to go to people who know even 

more accurate- 

ly — the 

lady stars 



January, 1922 


selves. We invaded the Lasky studio in the manner of the 
"Inquiring Reporter," who asks a question of five people met 
at random each day and records the answers in a newspaper. 

"What is your favorite type of leading man— and why?" 
was our question. 

We were guided by an assisting press agent to the artistic 
reproduction of the Scottish village of "Thrums" on the Lasky 
lot. Thatch-roofed cottages, irregularly cobbled streets, a 
quaint village pump, and a kirk made us imagine we were 
whiffing heather instead of the aroma from the p.a.'s cheroot. 
Betty Compson was wearing the gipsy costume of "Babbie," 
sparkling little heroine of "The Little Minister." We sat upon 
two un-Scottish canvas chairs. 

"I don't know that I have any favorite type of leading man," 
said Miss Compson. " 'Type' is hardly the word for it. I 
don't care whether a leading man is dark or light, short or 
tall, athletic or slender. But I want him to have personality. 
It's an ancient bromide to say that one can't define 'person- 
ality,' but screen stars and screen audiences are equally quick 
to recognize it. If a leading man hasn't 'personality,' he's a 
blank. If I were required to state quickly, without thinking 
it over, who my favorite leading man is, I'd say, 'Somebody 
like Will Rogers.' He has a soul, wit and humor, and 
he's a regular man. Then there is Tom Meighan, 
who has graduated from the leading-man class, 
but who played opposite me in 'The Miracle 
Man.' That picture was so successful and 
did so much for me that I suppose I'm 
prejudiced in favor of anybody who 
played in it. But I really believe Tom 
Meighan is an ideal type of leading man. 
Like Will Rogers, he has a soul and 
he's a regular man, though he's really a 
big, lovable boy grown up. All the 
nice things people say about him are 
true. I am keen for Elliott Dexter, 
too. Elliott is a mental type, and his 
brains make him a delightful compan- 
ion. He can interest one in any sub- 
ject, and he has such a thorough and 
intelligent grasp of his profession that 
it must be a pleasure to play opposite 
him. I hope to, some day. I don't 
think personal appearance makes such a 
difference in leading men. The public 
demands that they be reasonably good- 
looking, of course, and good looks would 
certainly never prejudice me against them. 
One thing I ask — good, honest eyes. It's what 
comes from the eyes that makes me like or dis- 
like a man. Charles Ray and Conrad Nagel have 
two of the nicest pairs of eyes." 

Gloria Swanson had just returned from EI Paso, Thomas Meighan 

Texas, where she had been on location for "The Hus- 
band's Trademark," and we spoke to her on the studio floor. 
Miss Swanson considered our question several minutes before 
she replied. 

"It seems to me," she said finally, "that technical knowl- 
edge of the acting profession and personal refinement are 
the two chief requisites for a leading man. At least, my 
favorites have those two qualities. Elliott Dexter and Tom 
Meighan have them, and, from my viewpoint, they are ideal 
leading men. 

"A leading man has a considerable effect upon a star's 
work. She is assisted to do her best by his interest and con- 
scientious performance. And she is discouraged and ham- 
pered if he is careless or indifferent or doesn't know his busi- 
ness. When I was playing leading-women roles. I felt duty- 
bound to give the male star the support of the best perform- 
ance I was able to offer. My favorite leading man does 

the same. As for actually feeling the emotions which one 
seems to be undergoing on the screen, please remember 
that there is a sharp distinction between real and reel love- 
making. If a star does an emotional love scene unusually 

well, it does not mean that 
she is a Cleopatra or in 
love with her leading man. 
It generally means that 
she is a good actress. Fer- 
vent kisses on the screen are 
not a sign that the star likes 
her vis-a-vis; probably the 
scenario writer said that the 
kisses should be fervent and 
there was nothing for the star 
to do but to comply. Lovemak- 
ing upon the screen has nothing to 
do with personal likes or dislikes; it 
is just part of the business of being an 
actress. I should prefer a conscientious, 
proficient leading man whom I personally 
disliked to a careless, amateurish one whom 
I liked, and should probably give a much better perform- 
ance with the former playing opposite me." 

Tall, dark men! Lend ears to Agnes Ayres, and take 

"Yes, I'll admit I'm prejudiced," she told us on the "set" 
for her first starring picture, "The Lane That Had No Turn- 
ing." "I like leading men who are above the average height, 
and I prefer dark ones. Perhaps the fact that that descrip- 
tion fits Thomas Meighan and Rudolph Valentino, who were 
my last leading men, has something to do with it. 

"My leading man must also be a gentleman. I want him 
not only tall physically but broad mentally, so that, in order 
to imagine myself in love with him and act my role of 
heroine with fervor and conviction, I may look up to him 
both literally and figuratively. I cannot imagine myself 
convincingly loving, even for (Continued on. page 54) 


/•' i / in p lay Journal 

Delivering Your Picture 


By Philip Fverby 

DID you ever stop to think that the same picture that you 
were viewing for the first time at the Ruby Theatre 
in Kokomo. Ind., is perhaps also being shown at the 
Jris at Wappinger's Falls, N. Y., Great Bear, Montana, Bir- 
mingham, England, Le Mans, France, and Christchurch, IVew 
Zealand? The world over, audiences are applauding the con- 
summate bravery of the same hero, hissing the wiles of the 
deep-dyed villain, and weeping over the loveliness of the fair 
and becurled heroine. Unlike spoken dramas, which, in these 
days of high cost of traveling, send out not more than four 
road companies, the movies disseminate their brilliance in 
perhaps forty or more simultaneous performances in widely 
separated localities. The inner workings of the great moving 
picture octopus, whose tentacles reach nearly every portion 
of the globe, are interesting to follow, since many ingenious 
methods of distribution are the result. 

A motion picture film is considered by "common carriers" 
as the greatest perishable on the market. Thousands of dol- 
lars may be lost or won on a train schedule. If a picture 
does not arrive at its destination in time for the advertised 
showing it is practically worthless, and the contract govern- 
ing its release is automatically broken. The theatre owner 
is absolved from the necessity of paying for its rental, but at 
the same time he must perforce keep his theatre dark, thus 
losing money, or if he is lucky can show again any films he 
may happen to have in his possession. However, this latter 
contingency is regarded as highly improbable, since after a 
film is shown it is immediately whisked away to be shown 
in another town. 

Without delving loo deep in the technical side, let us take 
a peep at the life of a film after it leaves the hands of the 
producer. It has been produced on the West Coast by one 
of the large studios which maintains its own "super-perfect" 
releasing organization throughout the country. 

"Hearts Aflame," the stupendous super-feature." arrives at 
the New York headquarters where it receives a final editing. 

In the inner sanctum of the president's private projection 
room the officials of the company view it dispassionately, 
coldly admit its merits, and caustically criticise its faults. 
Some of the greatest successes 
have been sent out as forlorn 
hopes and, by expert exploitation, 
and also, in a measure, through 
some inherent merit, have won 
phenomenal success. However, 
it is not the purpose of this arti- 
cle to either condemn or praise, 
but to state bald facts. 

Usually, five positive prints of 
a picture are made first, one to 

be sent to the Library of Congress 
at Washington for copyright, one 
to the censorship board for file 
and, as one producer explained, 
"not loo great deletion." one for 
the company vaults, and two for 
immediate use. In passing it 
might be well l<> explain that 

You probably go to your favorite movie theatre 
at least onre every week anil you always find 
the advertised filmplay uniting: for your consid- 
eration. Did you ever stop to think hoiv this 
film reached you? Did you ever realize that the 
paths which it followed from the studio to you 
were many and devious, that hundreds of nun 
were employed solely to see that, when you had 
been told a certain film would be at your thea- 
tre at a certain time, you would not be disap- 
pointed? Read this article by Philip Kerby. 
You will not only find it extremely interesting. 
Yiui will find it entertaining in its unveiling of 
the workings of a department of n great industry 
which has never been fully revealed to the public. 

prints are made in much the same way that ordinary while 
paper prints are taken, with the exception that the work is 
done on a large scale, and are transmitted to sensitized cel- 
luloid composition instead of paper. 

The film, depending on its importance, is then subjected 
lo one of several different avenues of release, and by release 
is meant its dissemination for projection before the public, 
lis importance is determined by three paramount factors, 
the actual cost of making, the popularity of the star or di- 
rector (curiously enough the name of a popular director may 
often save a bad picture I , and the popularity of the story. 

"Hearts Aflame." our mythical example, was transposed 
from a widely read book by a popular author, the star has 
an international reputation, and its cost went above the half 
million mark. This last may sound fantastic, but is easily 
possible in "real" money. With a tremendous fanfare of 
trumpets blown by the "Director of Publicity" I press agent I 
and his able assistants, "Hearts Aflame" is given a "pre- 
release" showing, oftentimes at a legitimate theatre with 
seats costing usual theatre prices, i. e., 82.50 up and down. 

Oftentimes this pre-release takes place simultaneouslv in 
New York, Chicago and Los Angeles. After the film has run 
perhaps two weeks, it is taken off and released nationally 
in what are known as "firsl-run" houses, located in the "key 
cities" throughout the country. 

In order to comprehend a little of the magnitude of the 
undertaking, it perhaps is necessary to give an outline of 
the great network of releasing system covering the country. 
The United States is divided into about forty different sec- 
tions. Oftentimes these sections correspond as near as pos- 
sible with the states, but sometimes two or more states may 
be included in one territory, and inversely one slate ma\ 
have two different key cities, depending on the population 
and whether or not it is a good "show" territory. 

In charge of each territory is a district manager, who is 
in many respects similar to a district sales manager of any 
nationally known product. If the territory is large, he may 
have two or more assistants directly responsible to him. and 
they in turn have a corps of highly trained traveling sales- 
men, bearing the rather opprobri- 
sou title of "film peddlers." In 
no other business is competition 
so keen, since the value of a film 
is highly ephemeral. Its value 

may change overnight, due to 
some effect or mischance wholly 
beyond the control of the sales- 
man or the manager. In one lo- 
cality a certain film may do a tre- 
mendous business, since the story 
may have some local adaptation, 
while a scant hundred miles dis- 
tant the same film may fall dis- 
mally flat, due again chiefly to 
some local conditions. 

Let us suppose, therefore, thai 
"Hearts Aflame" is to be released 
nationally. Forty prints are made 

J a 11 uar y, 1922 


and shipped in plent) ol lime for release on a certain date. 
The prints are accompanied by much voluminous publicity, 
i. e., the "press book" made up from stories written about the 
various actors, incidents during the taking of the picture, 
local color, elc., prepared by the "Director of Publicity" at 
ihe production studios; a complete set of "stills," ordinary 
photographs depicting the most important moments in the 
.••lory: and most important of all, a complete set of favorable 
criticisms culled from the daily newspapers of the cities 
where "Hearts Aflame" enjoyed its pre-release showing. 

An element in audience psychology enters into the last. 
If "Hearts Aflame" enjo)ed a successful run in New- York, 
and we are supposing it did from the publicity standpoint, 
il necessarily follows that Buffalo, Memphis, St. Louis, New 
Orleans, Milwaukee, Denver and the two Portlands, Maine 
and Oregon, will also like it. Thus, reasons the District 
Manager, and accordingly he makes sure that the criticisms 
receive widespread publicity in the local newspapers before 
the picture is shown. 

How about the theatre managers? Have they no choice 
or option in the matter? In the majority of the first-run 
theatres the capital stock is controlled by the releasing com- 
pany, usually sub rosa, and they are obliged to take at least 
fifty-two pictures a year, making up the remainder of their 
programs from outside material. Sometimes, and in fact 
(juite frequently, the theatres, if they are not operated by 
the releasing company, find it distinctly to their advantage 
to make contracts a year in advance, agreeing to take all the 
output of certain large companies. Here audience psychol- 
ogy again plays a part. It is human nature to wish to see 
a picture the first time it comes to a city. The great striving 
always to "be first" is shrewdly capitalized by the motion 
picture industry, and the public digs down into its collective 
pockets and willingly pays for its foibles. 

WITH another and slightly less modest fanfare of trum- 
pets "Hearts Aflame" is released nationally and scores 
a pronounced hit. The local critics perhaps unconsciously 
have been influenced to some extent by the advance publicity 
and criticisms of their brothers in the metropolis and, not 
wishing to be considered lacking in appreciation, have fallen 
in line and by a careful choice of adjective and superlative 
have outdone their more conservative brothers. 

"Hearts Aflame" has been successfully launched on its 
career. The district manager breathes a sigh of relief, and 
sets himself down to the real task of "putting the picture 
over." The simile of a snowball rolling down hill is not 
amiss, since if the hill is sleep enough, and if the snow is 
sufficiently dee]) and moist, the snowball will attain huge 
proportions before it reaches the bottom. Similarly, a pic- 
ture attains success due in a part to its merit — it is a fore- 
gone conclusion that it must be inherently good — but due 
also to the initiative and perspicacity of the sales force in 
pushing their product. Up to the present the picture has not 
earned a cent of real money. The expenses of exploitation 
and advertising have very likely eaten up all the releasing 
profits, since the overhead has been stupendous. 

After the widely advertised national release comes the real 
lest. The district manager must "sell" or rather, to be more 
exact, rent his product to the independent houses in the 
smaller cities and towns within his district. In many of the 
smaller cities there are also first-run houses, and they get 
the picture usually the first week after the national release. 
In many instances they are bound by iron-bound contracts 
to take whatever they are given, but this holds true only in a 
limited degree. With the attendant publicity created in the 
criticisms of the stale papers the small theatres lake the pic- 
ture and il is up to the owners and managers to utilize this 
publicity to the greatest extent. In order to make a 
profit on the picture they must "draw in the crowds." which 

oftentimes depends on their own ingenuity in exploitation. 
It is not the purpose of this article to reveal the many 
"Barnumesque" stunts resorted to — they are familiar to us 
all — but to see what happens to "Hearts Aflame." 

Let us examine for a moment the office of the district 
manager about the fifth week of the showing of the super- 
feature. It is needless to say that the value of the picture 
decreases rapidly in the ratio of the number of times it is 
shown. It is impossible to give any rental figures simply 
because they vary so. "It depends," one district exchange 
manager told me, "on any God's quantity of different things." 

"One has to consider the theatre, the time of year — crowds 
vary as the heat in any locality increases or decreases — the 
prosperity of the community, the popularity of the picture, 
the local popularity of the star as evinced by previous pic- 
lures, the class of audience, and also the ability of the man- 
ager to sell future pictures of this same star to this manager. 
We never try to sell only one picture, but to make ihe price 
in accordance to business conditions which will enable us 
to deal in future with this same manager — who is our ulti- 
mate consumer." 

TT SEEMED impossible as we talked, that ibis lad— he 
was not yet twenty-four — could have accumulated so much 
business acumen. After seeing the remainder of the sales 
force, whom he had called in for a conference on the re- 
lease of an important feature by his company it seemed 
more surprising still, since he was the eldest. 

"When I was made sales manager," he told me afterward. 
"I found that our competitors were getting all the business, 
and the reason was simply that 'our gang' stuck to old- 
fashioned methods. What we needed was pep, ginger, and 
the spirit of youth. Our product was better than any of the 
others, and the reason why we were not getting the business 
was that we had been content to leave well enough alone and 
not seek new fields. Business, like anything else, stagnates 
without new life, and with one exception — the old 'booker' — 
I summarily fired the entire staff and took on a crowd of 
voungsters that I could boss — and who were out to gel re- 
sults, rather than pay checks." 

I inquired why the "booker" had remained. He lold me 
that a "booker" was the most important adjunct in the office, 
and that his experience in routing films w r as invaluable. 

AFTER a film is 'sold' the most important task of booking 
. it advantageously, so that it may be shipped with the 
least waste of time, arises. Time is the all-imporlanl ele- 
ment we have to contend with, because if a picture does not 
arrive in time it is valueless to the theatre owner. Often- 
times one of my salesmen will close a contract for a man- 
ager's open date, only to find that it will be impossible to 
get it to him by the time specified. Then's when we have 
to be diplomatic. If he refuses to accept another of our 
offerings, and it is impossible to borrow the print from the 
neighboring territory, we must arrive at some solution where- 
by he will either agree to take the film at a later dale or else 
harmoniously cancel our agreement. This last I may add is 
only the last resort." 

I pointed to a large wall ma]) of his district where there 
were about five black pins, similar to the pins stuck in a 
map in a train dispatcher's office. 

He smiled rather ruefully. "Those are the pins of dis- 
grace," he said. "My predecessor thought it was a good 
plan to stick pins wherever a picture was showing. I 
changed all that because it breeds contentment in one's 
achievements. If the map is full of pins one loses sight of 
the places where our pictures have not been placed. Now. 
when our sales force gathered here this afternoon. I read 
:hem all the riot act about those pins, since thev represent 
now the towns where we are not represented on the screen. 
T received the promise from the two (Continued on page 52) 


Filmplay Journal 

Confessions of an Interviewer 


By Russell Holman 

THE American peo- 
ple may be di- 
vided into two 
classes — those who 
write interviews, and 
those who read them. 
We are great folks for 
getting other folks' 
opinions about things. 
The second-rate British 
poet ferries to our 
shores to accumulate a 
few honest American 
dollars via the lecture 
platform, and, before 
he has set foot on the 
skyscrapered coast of 
New York, the inter- 
viewing boys from the 
newspapers have board- 
ed his ship and asked 
him what he thinks of 
America. If he ven- 
tures an opinion, it is 
set down in scareheads 
on the front page of the 
papers; if he doesn't, it 
is set down anyway. 

The same happens 
to President Harding, 
Jack Dempsey and the 
movie stars, whenever 
they fare forth in this 
great land of ours. 
(Cheers.) Of course, 
they are not solicited by 
the interviewers for an 
opinion of America; that question is reserved for visitors 
who have never been here. Mr. Harding is pumped dis- 
creetly regarding the government. Mr. Dempsey is ques- 
tioned on the art of fisticuffs. And the movie stars are 
asked about everything else. 

I don't know why a film luminary should be supposed to 
have tucked away in his head and ready to roll out 
upon the tip of the tongue exact and sensible dope regarding 
clothes, beauty, health, the art of acting, babies, income tax, 
prohibition, short skirts and rolled hose, disarmament, and 
Freud. But they are. 

I interviewed Rudolph Valentino the other day. He is the 
handsome young man who scored such a hit in "The Four 
Horsemen," and who has just completed the title role of 
"The Sheik." In the quiet of an uptown New York hotel, 
four of us attacked the actor at once. ' The lad from the 
newspaper wanted to know if it is true that women love a 
caveman the way the indiscreet and beleaguered maiden does 
in "The Sheik." The moustachioed gent from the news 
syndicate craved an expert opinion on whether or not "The 
Sheik" is a nice book for juveniles. The sob sister had 

We are great folks for getting other folks' opinions about things 

heard that Mr. Valen- 
tino was a dancer and 
aimed to whittle from 
him an expert analysis 
of the shimmy and other 
modern dance move- 
ments. I had come to 
talk about "something 
else again," but, what 
with so many lungs 
stronger than mine and 
such a hot day, I merely 
smoked Valentino's cig- 
arettes and listened and 

The Latins are notori- 
ously courteous, and Mr. 
Valentino, having been 
born in southern Italy, 
is even more so. He 
listened politely to the 
onslaught. Then he be- 
gan the counter-attack 
skilfully and earnestly. 
He said that women love 
a caveman, provided 
the brute has brains — 
and developed and 
proved it. He explained 
that if "The Sheik" as 
a novel offended any- 
body, the picture won't 
cause the hair of even a 
Pennsylvania censor to 
curl, because the story, 
while retaining its dash 
and color, has had 
its temperature discreetly lowered in the filming process. 
He proved to the sob sister that the toddle and the Chicago 
are first cousins to the shimmy, and that the American tango, 
once popular, was but a flat-footed echo of the tango as 
danced in Argentine, the land of its nativity. 

Then he turned to me and said, mentally, "You may lire 
when ready, Gridley." But I knew that I could crib my 
story from what he had told the others, his cigarettes were 
gone, and I resolved to save my barrage for another day. 

And as he bowed us out of the door he was smiling and 
seemingly as fresh as a daisy. If anybody can pass Mr. 
Edison's test, Rudolph Valentino is he. At least, show me 
(he college pedagogue who can do as well. 

When Gloria Swanson came to New York for a rest, after 
working for two solid years in pictures with hardly a breath- 
ing spell, she didn't know that she would entertain ten inter- 
viewers in the first two clays. But that was the non-union 
schedule the publicity man had worked out for her, and Miss 
Swanson, who had planned matinees and seances with 
modistes and hours of plain resting, smilingly acquiesced. 
I was there while part of the (Continued on page 50) 

January, 1922 


What They Wanted To Be 



Left : Owen Moore 

believed that the short 
cut to lots of goodies 
iras through the kitch- 
en and longed to be 
a rook. 

Right: At the age of 
seven Eugene O'Brien 
attended a Catholic 
school and dreamed of 
the days when he 
would he a monk, 
robed and hooded like 
the priests of the 
Middle Ages 

I5i. i.< >w : Contray Tear It cherished 
the ambition to be a prizefighter 

until he was nl bust fifteen. Then 
a performance in an amateur 
production turned his thoughts 
Inward the singe, the profession 
he has followed ever since. 
However, he still keeps in Indu- 
ing and ran give a good ac- 
count of himself when necessary 


Left: Ever since he teas big 
enough to ran. Mies Welch has 
chased fire engines and today, 
despite the fact that he has 
climbed to the top of his pro- 
fession, he still thrills at the 
sound of the gong, anil often 
rides on the hose cart of the 
company located near his home 

>>h ■■■ManaMi -— 

»•-.. * 

RlCBI : Elaine 
H a miner stein 
loved her first 
teacher and 
thought nothing 
could be sweet- 
er in life than 
to be a teacher 
herself. Some- 
how or other her 
idea s w ere 
changed, but 
she still loves to 
play teachers 
on the screen 


Filmplay Journal 

Stars of Two Orbits 



By Frank Vreeland 

detecting the trade marks that separate the stage sheep from 
the screen goats. 

"The first thing I had to learn on going into pictures," 
said the star of "Disraeli," "was the fact that the most 
fleeting change of expression was caught by the camera and 
simply branded on the film. Lacking dialogue to supplement 
my expression, I thought I would help the poor dear public 
to get some' idea of what I was aiming to convey by rolling 
my eyes a bit and throwing in a few extra gestures. Then 
when I saw my test pictures, I was astonished to observe 
myself making terrible faces and waving my arms like 
windmills. Of course, I have always highly appreciated 
the value of the eye and the muscles about the mouth in 
revealing meanings on the stage, so I 
didn't have to stumble on the truth 
that there is such a thing as pan- 
tomime on the screen. But I 
had to learn to make acting 
underdone, rather than 
done to a turn. 
"Another lesson I had to 
absorb was to monopolize 
the center of the stage 
without a qualm. In the 
theatre one does occasion- 
ly hold back and let the 
other fellow have a 
chance, and so when I 
started film work I tried 
not to 'hog' the lens. But 
I was informed by the 
directors that holding 
back simply wasn't done; 
that, in the absence of 
words to abet one, unless 

Olga Petrova did not find it 

as difficult to dive into an 

emotion as she did to discover 

what the whole 

thing was 


Although she had trouble at first in preserving a 

mood through a long sequence of scenes, Elsie 

Ferguson declares that now she steps in and out of 

a part as though it were an automobile 

CHARLIE CHAPLIN has said that he 
went into motion pictures expecting 
that it would be very easy — all you 
have to do, he thought, is to walk around 
and look natural. But Chaplin, who seems, 
if any one ever was, to have been born with 
a silver sheet in his mouth, found that he 
had stepped into a new world and that he 
had to study and acquire the ways of the 
celluloid Romans or go back to being a 
sand-hog in vaudeville. There is as much 
difference, to his mind, between the stage 
and studio acting as there is between near- 
beer and the forbidden fruit of the cellar, \ 
and it took thought before Chaplin could de- 
velop his kick. Failure to recognize the dis- 
tinctions between theatre and screen — slight in 
themselves, but magnified by the lens of the camera 
• — has resulted in many a glittering footlight repu- 
tation turning out to be an exhibition of wet fire- 
works in the movies, while its possessor kicked 

himself free from Hollywood, never to return. But generally an astute figure 
of the theatre, closely observant of the tricks of the trade, is able to master the 
new medium in three easy lessons, despite the mental blur occasioned by getting 
up in time to meet breakfast halfway. As he is one of the newest to debouch upon 
the films, George Arliss is also one of the keenest among legitimate favorites in 

William Faversham 
hardly recognized him- 
self when he saw his 
first films— and didn't 
want to 

January, 1922 


one takes the lion's share of the perspective and stays in 
the center, one might as well fade out of the picture to 
slow music. 

"A habit which 1 had to overcome was that of turning 
away from the camera, instead of always keeping broadside 
toward it. 1 learned that quick horizontal actions of the 
hands or any part of the body were bad, while movements 
up and down could be snappier than an army salute. But 
on the whole, the director will generally regulate a screen 
actor's actions to the proper speed, so that he won't have 
lo bother about his footwork as much as a prizefighter. 

"What a film player does have to concentrate upon is 
visualizing his audience and remembering that he is playing 
for their benefit. Of course, on the stage an actor must 
visualize his hearers to some extent at rehearsals, and even 
when performing he must always be conscious of his audi- 
ence; but in the studio he must make it a specialty of his 
imagination. The actual audience, consisting of directors, 
stage hands and oilier players, is rather cold, but at re- 
hearsals on the stage I became hardened to such auditors. 
Players of experience know that no matter how loud and 
hearty may be the laughter of the stage hands at a certain 
bit, the audience will never drop a laugh at it. There are 
always the surprises, the unexpected reception for a passage 
that you have paid small heed to at rehearsal, but on the 
whole, an actor knows what parts will score, and in moving 
pictures he has to make it almost his mission. 

"The feature I miss most in the studio is the chance to 
warm up to a part, instead of walking into it and having it 
feel like cold potatoes. For spoken productions one has 
the opportunity to rehearse for a month, to develop various 
bits of business that do not spring forth full-blown at the 
first trial, and consequently, after trying it out on the road 
for several weeks, one has settled comfortably into the skin 
of the part. But in the studio, where one starts with the 
final scene and then does snatches of the photoplay here 
and there as the opportunity offers, it is not easy to graft 
one's self upon the role." 

The same difficulty in keeping a simp's wave of the 
hand in recognition from looking as though he were 
exhorting armies to victory has been noted by William 
Faversham, at present working his way through "The 
Silver Fox." "One's motions are apt to run wild on 
the screen," he says. "One has to take care how 
one curls one's lips. I found I had to slow 
down my motions a bit, or else if I moved 
too fast it looked as though I was about to 
make a violent attack on the scenery. And 
some of my first expressions were fearful. 
I hardly recognized myself — and I didn't 
want to. 

"An actor on the stage becomes accus- 
tomed to exaggerating emotions and expres- 
sions a trifle, to reach the man in the back 
row of the gallery, who demands his 
money's worth like a regular fellow. 
But the close-ups of the camera bring 
the spectator right to your elbow, and 
unless one watches sharp and tones 
down from the grand bow-bow style 
the result is apt to be ghastly. 

"Film acting is confining — and by 
that I'm not referring to being cooped in a studio. I mean 
that you're generally allowed to move only a short distance 
on either side of the camera — eighteen feet, I believe — which 
ralher cramps your style. Of course, wide vistas may be 
taken in long shots, but then the actor appears as a pinhead, 
which isn't flattering. Make-up, of course, is different under 
the studio lights, except in exteriors, so you won't look like 
a wreck or a roue. 

"It is very difficult to reach a climacteric moment on the 

screen, taking it all in one jump, when a few minutes before 
you may have been called upon to do nothing more turbulent 
than smoke a cigarette. Characterization is also very hard 
to put over in the movies, for the reason that you can't act 
with your larynx. The matchless and variegated tones of 
the human voice still remain, to my mind, the most potent 
means of expressing emotions or ideas, and that's why acting 

Vivian Martin is another actress 
who found that in the studio emo- 
tions were snatched up piecemeal 

on the stage makes one feel more 
like a human being." 

The time limitation is the big 
factor in the movies that sets them 
apart from the stage for Elsie Fer- 
guson, now preparing to unleash 
her feelings in another spoken play. 
"The restriction that is perhaps 
the severest to meet for an actor 
from the theatre," said Miss Fergu- 
son, "is that which keeps you from 
giving free rein to an emotion un- 
til you are all run out of it. The 
glory of D. W. Griffith, to me, is 
that he lets an actress look wistful 
until that feeling would naturally 
evaporate from her. But often 
one will get a director who will 
say, 'Now, we can spare you two 
minutes for looking sad.' Nobody ever runs his moods 
on a time schedule like that. Often directors break up a 
mood into little bits — first you are shown starting to cross 
the stage, after a couple of steps a close-up is given, and 
then the screen spills over with some remark you make. On 
the stage your whole passage across the stage would be 
allowed and you would be able to develop a mood with every 
movement of your body, every intonation of your voice in- 
stead of biting it off in the middle. (Continued on page 56) 

In the studio George Arliss misses the chance to 
warm up to a part 


F i I m play Journal 

Back Stage in the Movies 


By Walter F. Kberhardt 

THERE is a psychology 
in program presenta- 
tion that the average pa- 
tron of motion pictures, sit- 
ting complacently in his or- 
chestra seal, is totally un- 
aware of. 

The manager who builds 
his program with a view to 
audience effects does so with 
an effort that can hest he 
described as an hyperbole of 
rising interest. The aim is to 
make the interest sweep along 
in undulating curves until 
finally, when the feature pic- 
ture is to he shown, it is in a 
receptive mood to climb to 
supreme heights in apprecia- 
tive interest. 

That explains the differ- 
ence between just a complete 
picture and a completed pro- 
gram—a difference that is as 
great as between a Rem- 
brandt portrait on a hare 
wall and a Rembrandt hung 
in harmonizing surroundings, 
in the proper lights and 
against a blending hack- 

1 ' 

m -■--.-:--"■ 

.-'.'.-P. _ -*-*" ■ 






I '< r '9s'\ "■ 

^H & -* 

In the lirsl-run theatres of 
a large cit\ this building up 
of a program involves a tre- 
mendous amount of time, thought and work. Time is di- 
vided into split seconds. The) can tell \ou that the program 
should run from 118 to 120 minutes and in no instance can 
this he deviated from. The\ will tell you that, under the 
personal supers ision of the manager of the theatre, the build- 
ing ol a program necessitates the mental co-operation of 
half a doyen department heads and iheir subordinates. They 
will tell you that the work involved often carries them into 
the hours that Broadway once thought ordinary, but that are 
now regarded as reminiscent of ante-blue law days. 

On the alternoon on which a picture opens its run land 
New York's lirsl-run houses start their features on Sundavsi 
the final cuts aha alteration^ in that week's program are 
made. The worries for that bill are ended. 

Immediately afterward work commences on the program 
lor the following week. Once the feature picture is familiar 
to all. the actual planning commences* 

Taking the instance of the Capitol Theatre, the largest 
playhouse devoted to motion pictures in the world, when the 
program for "Bits of Life" was being planned. Colorful, 
intense and artistic, this picture demanded surroundings 
which, while impressive, would not lend to subordinate the 
feature. Throughout Monday and Tuesday nighls — from 
the lime ihe last patrons had left the building mil il two or 

three in the morning — Man- 
ager S. L. Rothafel and has 
assistant, Mr. Dowd, inspected 
short subjects that could be 
used with this feature. De- 
spite the fact that the choice 
was limited — lor it is a pol- 
icy at the Capitol to try to 
use exclusive short subjects 
only — there are from 10.000 
to 15,000 feet of film to be 
inspected every week. 

The program of a first-run 
ihealre in New York usually 
comprises an overture, a bal- 
let, a short film I usually a 
scenic l, a composite news 
reel, a solo, a prologue, the 
feature picture and sometimes 
i not always i a comedy. 

from (he mass of offerings 
Mr. Rothafel and his assistant 
had to select 12 minutes of 
short subject entertainment 
that would blend with "Bits 
of Life." They linalh di- 
vided the time, half going to 
"Snow Time in Japan" and 
"The City of Lake Como." 

On Tuesday. Mr. Rothafel 
called the weekly conference 
of his department heads. 
These conferences are very 
informal and every one has a 
right to a free and frank expression of opinion. 1 1 was de- 
cided that the overture from Tannhaeuser," with its crashing 
finale, was the appropriate selection for the week. Once 
that had been decided upon it remained for Mr. Erno Rapee. 
the conductor, and his assistant, Mr. Axt. to attend to the 
rehearsals of' the orchestra. A fanciful ballet, involving a 
dreaming, broken-hearted Pierrot, was decided upon for the 
ballet number. Immediately Mr. Alexander Oumansky. 
ballet master, prepared the choregrapln and was left to 
arrange the presentation of the number. 

A Southern lullaby was selected for the Capitol quintette, 
a permanent feature at the theatre, and the "Shadow Song ' 
from "Dinorah" for the solo. 

This seems a diversified program, but those familiar with 
"Bits of Life'' will recall that the picture is just what the 
title indicates. It covers four wideh separated short stories 
of life, and with this theme the selected program was in 

On Wednesday and Thursday evening Mr. Rothafel, Mr. 
Rapee and Mr. Axt scored the feature picture. This means 
running the picture, stopping on a second's notice, 
running it over again — the whole tedious process repealed 
ad lib. until ihc picture has been gone over perhaps four 
limes. During all ibis lime Mr. Rothafel and his aids are 

Photograph CantpbeU Studio 
S. A. Rothafel, leading expert in filmplay presentation 


r l . 



jolting down selections lo be used al each cue, marking the 
rue and ihe number of bars to be played for each selection. 
There is abundant choice, for the music library at the Capitol 
alone comprises 4,;500 pieces. 

Then there comes the question of a prologue. If one is 
decided upon and there is nothing available for the purpose. 
Martha \\ ilchinsky contributes the lyrics. In the case of 
Bits of Life," Miss Wilchinsky contributed a few verses, 
lo be spoken from the stage with musical accompaniment, that 
bore out the thought of the picture. 

Then came the quandary. Neither Mr. Rothafel. Mr. Rapee 
nor Mr. Axt could think of a suitable selection to accompany 
these lyrics, which were written in the same meter as Kip- 
ling's "Gungu Din." 

Finally, the manager's meniorx look him lo a popular 
.-election of years ago. He whistled il: but he couldn't recall 
its name. Neither could Mr. Rupee. Nor Mr. Axt. 

Without stopping to look up the selection the leader wrote 
down the notes from Mr. Rothafel's whistling and prepared 
the orchestration. 

The selection happened lo be "Ain't II Funny What a 
Difference Just a Few Hours Make." from "'The Yankee Con- 
sul," in which Raymond Hitchcock starred in 1906. Those 
who saw "Bits of Life" at the Capitol Theatre will tell you 
how effective Miss Wilchinsky "s lyrics were to that tune. 

On Friday night the news reels have come in and they 
must be selected and edited for the following week. Most 
first-run theatres subscribe lo several news reels — Fox. Inter- 
national, Kinograms. Pathe and Selnick. From 6.000 feet 
of offerings every week. Mr. Rothafel and his aids have to 
select 1.000 feel.' 

Sometimes on Saturday morning there is an orchestra re- 
hearsal. Always, on Sunday morning, there is a final dress 
rehearsul at which everything is rehearsed except the feature, 
picture. • 

One might think thai with all this work everything would 
be letter perfect — thut the fertile mind of the supervisor hud 
utilized every possibility, but not so, for on Sunday morning 
Mr. Rothafel sees the complete program for the first time. 

During the singing of the Southern luliaby Mr. Rothafel 
suddenly broke into an outburst. 

"How about thut light. Jo? Aren't you watching?" 

The thin, red light (hat shone through the window was 
changed. It was just a trifling of shades; but it had at- 
Iructed the keen eye of the munuger. 

During the playing of the "Tannhueuser" overture another 
idea urose — of featuring a cornet quintet during the pussage 
of "The Pilgrim's Return." It was conceived on the spur 
of the moment The live cornetists rehearsed that part again 
and again until they rose and sut down in perfect unison. 
Il wus like un urmy drilling — a simile that was intensified 
by the thundering finale thai was given the last bars after 
an initial rehearsal had proved inadequate. 

The ballet dance had to be gone over twice and some of 
the parts several limes. Just a change of expression, the 
intensit) of a spotlight, a .-hilling of position — -ull playing 
their pari in ihe science of audience psychology. 

And then came the soloist who wanted to sing lo her 

"But it can't be done, madam, unless \ou turn your buck 
to the audience." 

As the singer persisted, Mr. Rothafel, open to suggestion, 
cried : 

"Tr\ the small spot. Jo — see if we can get it." 

The number wus repeuted until every resource had been 
experimented with and even the director was satisfied that 
il could be done onlv one wuv. 

Finally there came the news reel. Alter several episodic 
incidents it showed the burial of the unknown hero and Gen. 
Pershing saluting the grave in (Continued on page 54) 

In elaborate presentation »/ tin- ballet "Scherezade? at the Capitol Theatre, Wew York, /" the accompaniment <>i the 
orchestra, nhich i:. n permanent fixture of the world's largest motion picture theatre. 

great symphony 


F it m play Journal 

She Believed in Herself 


By Charles Reed Jones 

FRANCES HARMER is by far the most pleasant, the 
most intelligent and the most successful advocate of 
correspondence schools I have ever met. In England, 
her birthplace, at an age far too young for the mod- 
ern girl to have her first screen ambitions, Mi 
Harmer clipped her first coupon. That cou- 
pon and the many succeeding ones, with the 
name and. address, which she, accordin. 
to instructions, did "print in full," laid 
the educational foundation for her 
present work as literary assistant to 
William C. deMille. Miss Harmer, 
despite her present age — I believe 
she said she was sixty-three — agile 
of mind and body, is one of the 
busiest workers on the 
Lasky lot. Miss Har- 
mer's education, all 
of which was 
gleaned from cor- 
schools — and 
experience — 
enabled her to 
qualify as 
teacher of Eng- 
lish literature 
and grammar 
in a Canadian 
school at an 
age when most 
of us are still 
depending on 
the monthly 
checks from 
home. Earliest 
among Miss Har- 
mer's definite ambi- 
tions was an overwhelming one which is still vital — the 
desire to write for the stage. Strained financial circum- 
stances made any training, except by a pay-as-you-go corre- 
spondence course, impossible, and she again placed her faith 
and her earnings in that method. 

Studying by correspondence between tedious hours of 
teaching and reading and correcting home-work and exam- 
ination papers is slow and nerve-wearing — so much so, in 
fact, that few have the persistence to go through with it. 
It is difficult — especially difficult for us who have fallen be- 
fore the enervating influence of southern California climate — 
to believe it possible. 

From Canada, Miss Harmer went to Texas, again as an 
English teacher in a private school for girls. It was while 
there that she completed her first play, a four-act drama, 
carefully and neatly written by hand on both sides of the 
paper. The first play broker who read her initial effort 
returned it to her with brief comment. Likewise, the sec- 
ond; and she, who was later to make an important place 
for herself on the staff of one of the screen's leading pro- 

ducer-directors, started to New York with the unfinished 
manuscript of a second play and the few hundred dollars 
she had managed to save from her work in America's most 
underpaid profession. Charles Frohman, Inc., was 
the first producer in New York to read her play. 
Though that drama has not yet been produced, 
e encouragement she received at that time 
spurred her on to further efforts and 
success. Frohman, at the time of read- 
ing her play, was so impressed with the 
originality of the theme that the 
manuscript was held for revision 
and subsequent production. It so 
happened, however, that the un- 
precedented success of the com- 
pany's early fall produc- 
tions interfered with 
further new activities 
during the season 
and the play was 
returned to her. 
In New York, 
Miss Harmer as- 
sociated herself 
with one of the 
leading play 
brokers of the 
metropolis and 
continued her 
study of dra- 
matic construc- 
tion and, what 
she considers 
equally impor- 
tant for the 
would-be scen- 
arioist or play- 
wright, her reading. 
Through her new activities in the East, she met and estab- 
lished a firm friendship with Mrs. Henry C. DeMille, mother 
of Cecil and William, at a time when neither one of them 
had become interested in motion pictures. 

While she was associated with Mrs. DeMille in business 
in New York, Miss Harmer, besides devoting much of her 
time to reading and selling plays, was writing for several 
of the leading national magazines. Though she told me, I 
have quite forgotten all of her many pen names, each of 
which has a definite reason for being. 

"My most used name," she explained, "is for my very 
worst stories. All my other names are graded according to 
the merit of the publication they are intended for. My own 
name, for first-class work only, appears less frequently than 

the rest. Then there is another I must tell you about, 

. He (I sometimes use a man's name) writes about 

on a par with the average writer of popular magazine stories, 
but he discusses things that women are not supposed to know 
anything about." 

it was through Miss Harmer's association with Mrs. 

January, 1922 


DeMille that she eventually became interested in motion pic- 
iuies. Cecil or William, "one of the boys" — so Miss Harmer 
put it — had been discussing with his mother the many hard- 
lo-fi II vacancies at the Lasky studios. He considers his 
scenario readers among the most important members of his 
staff, and he feels that dependable readers are unusually 
hard to find. Miss Harmer had been a reader of plays and 
she had shown in her reading the discrimination that had 
niiiile her successful as a play broker. Mrs. DeMille recom- 
mended Miss Harmer, and she left New York immediately 
tor Los Angeles. 

Miss Harmer was associated with Famous Players but a 
short lime when she became head reader for that firm. 
During the period she remained with them in that capacity, 
she wrote several original stories which have been produced. 
Her most recent screen play. 
"One Wild Week," a Bebe 
Daniels comedy, is now showing 
ihroughout the country. About 
one year ago, Miss Harmer 
resigned her position in the 
r'amous Players scenario de- 
partment to join William C. 
deVlille as literary assistant. 

"Being 'literary assistant' for 
Mr. deMille," so Miss Harmer 
told me, "is more like being a 
play broker than anything else 
I have tried since I left New 
\ ork. My job is to find stories 
for our unit. Day after day is 
spent tediously reading material 
that is entirely without merit, 
hoping for an idea that may be 
developed. When I chance to 
hit on something that looks like 
a potentially good picture, there 
is a new and even harder task 
awaiting me. I must convince 

Mr. deMille that Tarn right. I have had to sell him every 
story I have chosen for him, and it has been more difficult 
in each case than it ever was to put over a deal with a New 
York stage producer. 

"Time and again, I have asked him what he wants — what 
sort of a story, what locale, what whatnot. The answer 
never varies: 'If 1 knew what I wanted I could get it. Just 
find something different — something that can be done in a 
different way.' Then the search, definite, yet most indefinite, 
begins anew. My job, of course, is a bit more than finding 
stories, though that takes most of my time. I am part of 
the committee, which includes all of Mr. deMille's staff, 
that works out the details of all of his productions." 

Several times in the hour I was talking with Miss Harmer, 
she was called to answer the 'phone and each time I would 
hear her making an appointment with some aspiring screen 
writer who had just completed what certainly deserved to 
be Mr. deMille's next story. She meets them all, though 

Frances Harmer is the most remarkable ex- 
ample of success gained through persistent 
effort in the entire world of films. Imbued at 
an early age with the desire to write for the 
theatre, through the sixty-odd years of her life 
she has held to her ambition, ivriting short 
stories under assumed names, teaching school, 
reading plays, so that she might give her free 
hours to her well-loved ivork. In the end her 
devotion to an idea and an ideal was bound to 
find recognition and today she is one of the 
most important figures in the Hollywood mo- 
tion picture colony — literary assistant to Wil- 
liam deMille, one of the leading producer- 
directors of America. Her story is one to in- 
spire; her philosophy, her good cheer and her 
never-failing belief in herself should be of 
intense interest to every reader of Filmplay 

she knows that all — the exception, which is supposed to prove 
the rule, has not yet submitted his story by that method- - 
will have nothing to offer. 

"Still there is a compensation in talking to the youngsters 
who come in to see me. Many of them give evidence of 
possibilities that I think my advice may help to develop. 
And many of them are amusing almost beyond belief. A 
woman 'phoned the other day for an appointment, telling me 
she had an idea for the screen that had never been used in 
njotion pictures or on the stage; her plan was to picturize 
the process of embalming. 

"Another, who had recently chanced to pick up a volume 
on theosophy, was dumbfounded when I told her that the 
idea of reincarnation was more than three or four weeks old. 
It is not unusual for a person, apparently normal outside 

of the studio, to expect me to 
pay him for the information that 
the life of George Washington 
might make a good picture. 

"A common type, too, is rep- 
resented by the person who 
knows 'that the story of my life 
would make a wonderful moving 
picture, if I could only get some 
one to write it down.' I sup- 
pose I have listened to as many 
life stories as any other person 
in this business, but I have yet 
to hear one that is, in its en- 
tirety, a drama. Many of them, 
if not the majority, have had 
experiences that might be de- 
veloped into screen plays. But 
I am only repeating bromidic 
advice that one should write 
from his own experiences; how- 
ever, that method is the safest." 
One would expect that the 
trying duties of the studio rou- 
tine, combined with the effort Miss Harmer puts into her 
own screen writing, would render her incapable of further 
activities, but such is not so. Much of her time is spent 
with some of the younger girls among the Lasky players, 
to whom she is a guide and teacher. Last year she con- 
ducted several classes in contemporaneous literature at the 
Hollywood Studio Club, which the Y. W. C. A. has estab- 
lished to help girls away from home who are endeavoring 
to make places for themselves on the screen. 

Miss Harmer's plans for the future are quite definite. 
She will continue with Mr. deMille, and she will continue 
to write for the screen. 

"Between times," let me quote her, "I'll find a chance for 
writing magazine stories. I expect to start a new class at 
the Studio Club shortly and continue it through next spring. 
1 must keep busy to keep healthy — and I must keep healthy 
to keep busy — and keeping busy is necessary in these hard 

"Important— If True" 

By J. R. McCarthy 

When entertainers earn the same 
As men who plow the fields. 

When I a ugh- prod luting us a game 
The some as farming yields 

Then we'll have less of splurge and dash 
And more of head and heart: 

Not films by men who love the cash, 
Hut men who love the art! 


F ilmplay Journal 

Handicapped by Family Prestige 




By J. Allen Boone 


BILT, JR., the rising 
young journalist, declares 
his name and the family's pres- 
tige have been somewhat of a 
handicap to him in making good 
on his own merits in the news- 
paper business. There's another 
young man of about the same age 
who is experiencing the same dif- 
ficulty out in Hollywood. He is 
Arthur Rankin, the youngest 
acting member of the famous 
Drew - Barrymore - Davenport - 
Rankin family of actors, who 
aspires to cinematic pre-emi- . 

"I don't want directors to give 
me parts because I am the son 
of Phyllis Rankin and Harry 
Davenport or the nephew of 
Lionel and John Barrymore," 
young Rankin declares. "I want 
to succeed 'on my own.' I want 
to be known for my own ability, 
rather than for what my dis- 
tinguished relatives have done. 

"People say, 'Why are you 
working so hard out here, play- 
ing small parts at different 
studios, when you could have 
remained in greater comfort 
with some of your relatives in 

the East?' One reason I am out here is because I think 
Southern California is the most beautiful place I have ever 
seen and I want to live here. But the chief reason is that 
1 want to start at the bottom and work up in the motion pic- 
ture profession so that anything I may accomplish will be 
due solely to my own efforts." 

And. that's that, as the saying goes. He wants to succeed 
by himself. Young Rankin is working many long hours a 
day in the Hollywood motion picture colony and between 
pictures is seeking parts just a little bit better than those he 
has had. Is he making good? He had a part in "The Lure 
of Jade," the latest Pauline Frederick picture to be com- 
pleted at the R-C Pictures west coast studio in Hollywood. 
Although the film has not yet been released, those who have 
seen it in the studio projection room say he did remarkably 
well. He played the part of Allan Corey, the young son of 
Captain Louis Corey, and his work won him the commenda- 
tion of Miss Frederick herself, and Colin Campbell, the 
director. * 

Your interviewer found young Rankin — (he's twenty-five, 
but looks seventeen; he says he thinks it is his greatest 
handicap) — as we were saying, we found young Rankin in a 
secluded corner of one of those cavernous studio stages. He 
had obtained another part, after finishing his engagement in 
Miss Frederick's picture, and was waiting within hailing dis- 

Arthtir Rankin 

lance of the director until he 
should be needed on the set. 
His hair, usually combed sleekly 
close to his head, had been mar- 
celled until it was all frizzly and 
stood up and out in all direc- 

At the moment we came up he 
was on his knees behind some 
discarded scenery cajoling two 
little variously dotted cubes to 
bring "Li'l Jo" home to its 
papa, while about him hovered 
an electrician, a "prop" boy and 
several others who were implor- 
ing an omniscient but inscrutable 
Providence to thwart him in his 
purpose. Our arrival left the 
matter in doubt, for the game 
broke up and the youthful Mr. 
Rankin walked away to be in- 

He's a likable young chap. 
He has the classic Barrymore 
profile that has agitated so many 
maidenly and matronly bosoms 
from over* the footlights. 
There's not the least bit of af- 
fectation about him. He speaks 
proudly of his famous relatives, 
but not as if he felt partly re- 
sponsible for their greatness. 
"I'm playing the part of a 
young Jew in this picture," he said, "that's what's the matter 
with my hair." 

He seemed a little self conscious. We sat on the edge of 
a disheveled bedroom set of a cheap lodging house and he 
started to tell about himself. He was interrupted once by 
a shout from the director, but he returned in a moment and 
we resumed our visit. 

Young Rankin made his first appearance on the stage in 
New York in 1915 at an actor's benefit. His first profes- 
sional engagement was the same year when he appeared 
in some special matinees there. He was freshly out of 
school, having attended Bishop Ridley College at St. Cath- 
erine, Ontario. 

His budding stage career came to an abrupt end in April, 
1917, when he enlisted in the United States Marines imme- 
diately after America entered the war. Ill health kept him 
from active service and he was invalided home and given 
his release. As soon as he could pass the physical exam- 
ination he joined the British tank corps at a New York 
recruiting office and was sent immediately to England, where 
he remained for the rest of the war. Much to his disap- 
pointment, the nearest he ever got to hostilities was to go 
through several air raids in England. 

He entered moving pictures as soon as he returned to 
New York. He had had several (Continued on page 52) 


A charming young screen actress who lias appeared opposite 
Charles Ray in several of that comedian's most successful pictures 



Photograph by Nicholas Muray, AT. Y. 

A new portrait of the popular star who is soon to be seen in 
an original filmplay entitled "The Husband's Trademark" 


Photograph by W. F. Seely, L. A. 


A star in her own right who has been chosen by Cecil B. DeMille for 
one of the leading roles in his latest production, "Saturday Night" 


i j mm .!!■>■ 


Photograph by Pach Brothers, N. Y. 

A recent recruit from the spoken drama who plays 
opposite Constance Binncy in "The Case of Becky" 
and with Norma Talmadge in "Smilin Through" 



■ ~u.ii ..i- ii m»-iw 


ntmwimrMK n 

Photooraph by Melbourne Spurr, L. A. 


An off-screen portrait of the favorite star who is 
soon to appear in "For the Defense," an adapta- 
tion of Elmer Rice's stage play of that name 



Photograph by Melbourne Spurr, L. A. 

Who has recently left the Goldwyn fold for Para- 
mount and who will soon be presented by that 
company in a picture called "One Glorious Day" 


Photograph by Evans. L, A. 


Dean of screen character actors and as popular 
as any featured star, this player continues to 
amuse and to move with each succeeding portrayal 


Photo f/t'a /'It by Hoover Art Studios, L. A. 


The lovely star, justly called "The American Beauty," is 
now at work on a new picture entitled "The Infidel" 

7 hirty-tivo 


January, 1922 

Beauty Makes a Sacrifice to Art 



By Charles Reed Jones 

performance, is enhanced by the erstwhile hidden loveliness of 
he performer. Miss Eddy's first screen appearance with be lig, 
iike'that of so many other present-day star s-if « can accept *e 
yarns of their press agents-was an accident. Let her tellit. 

"Being normal, I knew that 1 could .write a scenario What 1 
jTJnot that'it is normal to be able to write .for the ^een 
but knowing that you can most certainly is. I had fin heel my 
first story-that is, the first that I was sure I could ^l-«nd 
took it to the studio manager at the Sehg studios. Selig was 
among the leaders then, Of course, they didn't want my story 
nut they did offer me an opportunity to play in a picture I 
ccepted. Whatever development there has been in my work or 
J Son in picturedom since that time would make no more 
hi eSung s.ory P than that of the average player-just work, and 
waiting and hoping for opportunities. 

"I had been on the stage first, you know. 
The stage attracted me as a child and 1 
was determined to have a professional 
career. Later, I studied under 
Frank Eagan, who is now pro- 
ducing at Little Theatre here. 
I didn't stay with my stage 
work long enough to do 
anything really worth 
while, but I feel that the 
short time I was playing 
behind the footlights has 
given me the background 
that makes possible 
(Continued on page 53) 

She wants to be her own 

NOT having seen 
"The March 
Hare" at that 
time, I started out to meet 
Helen Jerome Eddy with an 
erroneous, preconceived no- 
tion of one of our screen's 
best troupers. For two years or 
so I can remember Miss Eddy as 
an extraordinarily ordinary-looking 
girl whose whole distinction, and that a 
genuine one, was in her histrionic ability 
and in the reflection of an unusual intel- 
ligence that is so patent in all of her 
screen work. Helen Jerome Eddy, so I thought, would, in all 
probability, be a girl of interest, but it had not occurred to me 
that a young, attractive girl with an enviable feminine charm 
would consent to sacrifice a beauty that is as rare as it is sur- 
prising and offer a beauty-seeking public that almost freakish 
creature with whom we are familiar. But Miss Eddy did just 
that, and did it consistently until she was induced to play the 
comedy part in Bebe Daniels' "The March Hare." "The March 
Hare" shows this soon-to-be star at her best, which means, as 
I have since learned, that it shows her as she really is. The 
Helen Jerome Eddy of this picture comes as a new figure to the 
screen; and her performance in this filmplay, a typical Eddy 


In one of her 

Helen Jerome Eddy 



F i I in /> lay Journal 

Remember the Maimed! 


By Frank Lyle 

Charle i 
Ogle received 
many letters con 
soling him on the 
loss of a leg after his appear- 
ance us John Long Silver. Cen- 
ter: Conrad Nagel achieved the 
effect of blindness in "Fool's Para- 
dise" by putting milk in his eyes 

AT FIRST blush, the movies, 
l\ which lay such emphasis 
-L ■*- upon physical perfection, 
would seem to be the last place in the 
world where a cripple might find an 
opportunity, with pay. And, indeed, for 
die real cripple there is little chance to work 
in front of die camera. Once in a while they are 
required as extras, such as in the big scene in "'The 
Faith Healer," where scores of unfortunates were 
employed in order to afford a background for 
Milton Sills' marvelous, according to the scenario, 
healing prowess. 

Not that there is a lack of roles — and fat ones, 
too — that must be played by physically deformed 
persons. ' ''The Miracle Man," "Humoresque," 
"'Treasure Island" and "Fool's Paradise" are just 
a few of ibe important pictures in which some of 
the characters were maimed. But these roles were 
not played by real cripples; professional actors 
with an adepl knowledge of make-up portrayed 
them. I mloubloilly the producers would ratber. 

for the sake of realism, hire somebody who was actually suffering from 
the physical defect called for by the scenario. But generally such 
persons are not in condition to work without injuring themselves, 
and. moreover, they are rarely even tolerably good actors. On the 
other hand, if the best screen actor in the world should happen bj 
accident to lose a leg and should nevertheless determine to stay 
in the motion picture business, he would probably fare badly. 
There wouldn't be enough one-legged parts to keep him em- 
ployed. It would be just bis luck to have most of the scenarios 
call for one-eyed or one-armed men. 

So the practice has grown up of having good character actors 
simulate deformity when it is called for by the scenario, and 
many of them have, because they are really clever and. through 
experience, become so proficient at losing an eye or a leg or 
an arm that one can hardly tell the difference between the sham 
cripple and a real one. I believe an inter- 
iewer. in a recent issue of Filmpl.u 
Joirnal, told how Charles Ogle, 
eteran character actor, had 
eived letters from film en- 
lusiasts commiserating him 
upon the loss of a limb, fol- 
lowing bis excellent per- 
formance as the one- 
legged "Long John Sil- 
ver" in "Treasure Is- 

l.on Chancy as The Fr.qg in 

"The Miracle Man." gaife 

a performance which even 

the director did 

n o I be I ieve 

January, 1922 


land." These letters probably compensated Ogle for what Clarence Burton is another actor who is rapidly gaining 
he Buffered in playing the part. A one-legged role is never a name for himself as a master at portraying maimed char- 
easy. The actor must be a bit double-jointed in order to acters. Remember the — apparently — wooden hand which he 
carry it off well. He must bend his leg at the knee back- had in Wallace Reid's "The Love Special?" According to 
ward as far as it will go, grit his teeth and force it further the story, he was a division superintendent who had once 
yet, then strap the fore-leg securely to the back of saved the hero's life and lost his hand in the 
the calf with strong thongs of some kind. He process. The 'script required Burton to trans- 
folds up the lower, unoccupied part of the leg yS ■>. form his perfectly good right flipper into a 
of his trousers and uses the cloth to cover /'j* jt^ 4 , -\ stiff, wooden and lifeless one. 
up the fake. Then he is ready for the / >v He did it by laying in the palm of his 
camera. However, he must always y^|j ^Q -^\ hand and along the forearm a fork- 

appear in a certain position relat 
to the camera, else sharp eyes in 
future audiences will have the illu- 
sion spoiled for them. He must 
preferably stand directly facing 
the lens. While his leg is 
strapped in this unnatural po- 
sition, the actor is, of course, 
suffering more or less pain. 
Don't blame him if his smile 
seems just a bit forced. Gen- 
erally work has to be stopped 
at ten-minute intervals, while 
the one-legged actor unstraps 
his protesting member, rubs 
the cramp and bruises out of 
it, sighs a little, and binds it up 
again. Personally, I agree 
with Bert Williams— "I don't 
need a job that bad!" Lon 
Chaney did a notable piece of 
"legless" work in "The Penalty. 
In fact, Chaney is a past master 
at playing characters with 
physical deformities. His 
"Frog" in "The Miracle 
Man" was a gruesome 
masterpiece — a pite- 
ous creature whose 
every muscle 
seemed to be 
twisted out of 
shape — a grov- 
elling, distort- 
ed effigy of a 
man dragging 
himself over 
the cobbles of 
New York's 
C h i natown. 
Then "The 
Frog" would 
straighten up, 
before your 
eyes, and be- 
come a normal, 
whole man. 
The late George 
Loane Tucker, who 
produced "The Mira- 
cle Man," didn't think 
"The Frog" could ever be 
played the way it was written 
in the scenario. He didn't be- 
lieve an actor existed who could 
throw himself all out of shape 

and back again at will. But Lon Chaney proved otherwise. 
The reputation thus gained in the Tucker picture secured 
Chaney many other cinema engagements requiring him to 
play cripples and wear eccentric make-v.p. 

Clarence Burton is a master of make-up. AnoVE: As he tip- 

pears as the one-eyed desperado in "Fool's Paradise." 

Below : As the man with the wooden hand in 

Wallace Reid's "The Love Special'' 

shaped steel instrument, the prongs 
of which fitted behind his fingers. 
This was wrapped in cloth and 
held in place with tire tape. 
Then a leather glove was pulled 
on and covered with three coats 
of shellac. The completed en- 
semble looked like the wood- 
enest hand that ever came out 
of a hospital. 

The right hand was supposed 
to be the injured member, and 
Burton said afterward that he 
became so accustomed, during 
the making of the picture, to 
using his left one that today he 
is practically ambidextrous. 
When Cecil B. DeMille was 
choosing the cast for "Fool's 
Paradise," he decided that he 
.vanted a villain different from any 
riety of "heavy" that had ever been 
filmed. He told Clarence Burton 
to dope out a novel kind of 
scoundrel. A few days 
later Mr. DeMille was 
talking with Mildred 
Harris and Dorothy 
Dalton, the feminine 
leads in the pic- 
ture, on the set 
at the Lasky 
studio when a 
very, very bad 
man sidled 
around in front 
of him. The 
fellow was 
dressed as a 
Mexican tough 
—"chap s," 
greasy ban- 
dana and dust- 
stained som- 
brero. But the 
chief thing 
about his evil, 
swarthy face was 
that it contained 
only one eye. The 
other socket was appar- 
ently empty and looked 
f its tenant had been re- 

cently shot out or struck by a 
knife. Mr. DeMille was star- 
tled and the ladies shuddered. 
Then the producer recognized Clarence Burton, and laughed. 
"You win," he said. "You're concentrated essence of 
villainy itself. The lost eye is the finishing touch." 

Burton's missing eye is a (Continued on page 54) 


F i I in /> I a v Journal 

A Leading Lady at Eleven 


By Margaret Kelly 

THERE was mascara 
on her long eyelashes 
and grease-paint hid 
ihe fair, young skin. She 
was in gingham pinafore 
and she sat on the floor in 
the corner of the studio. 
She was playing jacks. 

"Oh, do you play jacks? 
Won't you play with me?" 
she asked eagerly, as I sat 
down beside her. 

And we played jacks, 
Mildred Ryan and I. while 
(he director shouted direc- 
tions and the carpenters 
pounded and the lights 
flashed on and off. 

Then the director's voice 
boomed, "Mildred!" She 
rose, excused herself and 
in a businesslike fashion 
walked over to the set and 
in a I winkling became the 
eleven -year -old leading 
woman in "Home-Keeping 
Hearts," which makes her 
the youngest female lead 
now on the screen. Or 
doesn't it? 

Anyway, I watched her 
at work under Director 
Carlyle Ellis, and it was 
interesting. She is only 
eleven, but her sang jroid 
is that of a veteran. She 
was living that part vividly. 
For the time being she was 
Mary Colton, the lonely little country girl who, finding her 
father at last, mothers him out of his discouragement and 
his cowardice. 

The director retold the slice of story clearly in a few- 
words. He made Mary understand what she was feeling. 
And she felt it. The rehearsals developed that Mildred (as 
Mary • built up her pari, contributing a bit of business here 
and there under the selective eye of the watchful one. And 
even after the word, "Camera!" had lightened all strings 
there was sponlaneily, inventiveness, reality. 

It was over and Mildred came back to me. Not a word 
of what she had been doing; not a touch of vainglory over 
good work done. Instead she said: 

"Let's play jacks some more, if you don't mind." 

But I did mind. Mildred, intense and thorough in every- 
thing, could beat mc "all hollow." and besides I wanted her 
to talk. She doesn't mix much conversation with other 

Mildred Ryan 

York's little army of theat- 
rical children I was the 
best of all existing institu- 
tions even though the home- 
work was monumental, and 
finally, that dogs were lots 
more fun than boys. 

That subject of dogs kept 
cropping up ever and anon. 
Mildred's- special passion is 
lor dogs — any sort of dog is 
a friend in her world. Next 
lo dogs come dancing and 
working in pictures. 

"It's such fun lo pretend 
you're someone else!" she 
explained. "I like it better 
llian any oilier game. And 
the other person thai you're 
supposed lo be does such 
funny things. I often laugh 
when it's over. But it's hard 
lo pretend just right always. 
I hope I am getting better 
at it. Directors are awfulh 
hard to satisfy, but some of 
them can make almost any- 
thing easy. I wonder how!" 
I had got little Miss Ryan 
to talking shop at last. 

"This part in 'Home- 
Keeping Hearts' is the best 
I've ever had. Mary Colton 
and 1 are so much alike that 
it all comes natural. It's a 
darling story and it seems as 
if the author must have 
written my part especially 
for me. But we put ihe puppy in afterwards — " 

Puppies! We were off again on our favorite topic, till 
Director Ellis again called for her. 

Mildred Ryan was born on Staten Island, and on her 
mother's side comes from a long line of stage folk. Her 
mother w r as a Seaver, an old New England and New York 
name. Mildred has grown up in the big city, but has learned 
to love the outdoors and all ihe outdoor sports that an active 
and avid girl of eleven can be allowed. 

In dancing, she is a pupil of Elise Dufour, and a very 
successful one, but her mother has discouraged public per- 
formances or the injection of professionalism into what is 
now an untrammeled expression of herself, a sheer unself- 
conscious delight. 

She has been doing small parts in pictures for three years 
and has worked for Vilagraph, Fox, Pathe and others. 
Picture work appeals to the vivid, young imagination. It 
creates a world apart from the material, in which the fancy 

We got lo the subject of school and it was disclosed that may have free play. That is also why Mildred still plays 
compositions were lots more interesting than Roman history with dolls, though she blushes to admit it. 
or arithmetic; that the professional school (attended by New But it was her genuineness and (Continued on page 50) 

January. 1922 


Lady Babbie on the Screen 



Below': Some of the oldsters of 

the Scottish village of Thrums 
sec in Babbie, the gypsy maid, 
the spy irho has hetraycil them 
to their enemies, the King's con- 
stables, and are threatening her 
icilh dire and divers punishments 

Hki.ow : Lord RintottVs soldiers, 
come to Thrums to arrest a cer- 
tain rebellious gypsy maid, dis- 
cover that she is none other than 
Lady Babbie, their Lord's daugh- 
ter. This is news to Rev. Gavin 
too, alio has just married her! 

THE weavers of the little Scottish village of Thrums, having rebelled Gavin Dishart, pastor "I the church at Thrums, «hi> i' 

against Lord Rintoul. master of the surrounding country, iliink that into a marriage with the supposed gypsy. To the surprise 

they have been betrayed by Babbie, a pretty gypsy, and threaten body, the gypsy maid reveals herself as madcap Ladj 

her. She is reseued from their wroth by llie youthful Rev. daughter of Lord Rintoul. 


>f ever-. ■ 



Film play Journal 

The Good Old Days 


By Earle Williams 

A scene from "His Official Fiancee." 

Center: Earle Williams as John Storm in 

"The Christian" 

DID you ever stop to realize 
that the camera reflects every 
fault or virtue of a player? 
The lens is an unerring delineator of 
character and disposition and at all 
times a player must be very careful 
of both his physical and mental well 
being lest their relapse betray him. If 
he has caroused the night before, a 
scene taken in the morning to register 
his vitality and handsome appearance is 
hopelessly lost. Or, on the other hand, 
if he is suffering a temperamental outburst 
and then appears before the camera, no matter 
how much he may try to dissemble for the scene, 
the lines of his dispositional debauch are reflected. 
A few seconds of indifference, a momentary relaxation 
before the camera is also caught by the lens and the 
public wonders why their favorite did not give his best 
to a big scene. 

But not only does the camera play pranks on the play- 
ers, but if it is not carefully watched a whole company 
may suffer in consequence. When Anita Stewart and I 
were playing the leads in "The Goddess," under the 
direction of Ralph Ince. the Vitagraph company sent our 
whole outfit to Back Cave, North Carolina, to take some 
especially important and beautiful scenes. 

We worked very hard for several weeks under the most 
delightful conditions and returned to New York happy in 
the thought that we had secured really worth-while ef- 
fects. When we all assembled in the projection room to 
view the result, to our horror, what we expected to see in 
the way of good acting and beautiful exteriors turned out 
to be nothing but a futile medley of filmic blur. Our 
beautiful shots went ricochetting up and down the screen 
in confusing jumps. It was as if we were viewing the 
mad dream of a futuristic rarebit fiend. I shall never 

forget the despair of Ralph Ince, our director. It seems 
that while down south, a portion of the film had jumped off 
the sprockets inside the camera and the result you already 
know. This accident cost the Vitagraph company many 
thousands of dollars as the whole company was obliged to 
return to North Carolina, seven hundred miles away, and 
do the work all over again. 

The hardest part of work before the camera is to plant a 
thought. The script has a big story to tell, but sub-titles, 
although they help, cannot carry the burden of the plot and 
the various plantings of thought to be conveyed. The 
player must register all the emotions and the action. If he 
departs from the story mentally he instantly loses 
contact with the public or throws out a wrong 
thought and twists the story. The camera can- 
not be fooled, and a wise player is on the tip- 
toe of endeavor when its lens is focused 
upon him. 
I have often been asked questions on light- 
ing and, because it is a subject which 
interests me exceedingly, I shall dwell 
upon it for a few lines. Also, lighting 
is the camera's twin sister as far as re- 
sults are concerned, so it should be men- 
tioned. In the old days we seldom used 
spots or sidelights. Overhead lights 
were mostly in vogue then and the sets 
had to be built to accommodate them. 
Later came the lights that can be thrown 
anywhere. It is now no longer necessary 
to build the sets to jibe -with the lights, as 
they can be placed and turned in all direc- 

Templar Saxe, "Motht 


and Eulalie Jensen 

tions. That is a tremendous saving both in time and expense. 
Now and again a player's eyes are burned by its power, but I 
have found that a careful conservation while the lights are on 
has saved me from trouble. For instance, when I am not ac- 
tually acting, I leave the light zone and avoid looking in its 
direction. While not rehearsing or acting, but standing on the 

January, 1922 


set awaiting the cameraman's pleasure, I look away from 
the lights or cover my eyes with my hand. If all the play- 
ers would adopt this habit there would be less burned out 
eyes in the industry. I am given to understand many 
players have had to quit the screen because their eyes could 
not stand the strain. 

My mail is rich in inquiry from girls on the question of 
make-up. They most of them ask if there is any material 
difference in stage and screen facial make-up. Perhaps this 
is a good opportunity to discuss that question. Rouge, of 
course, is universally used on the stage to give a natural 
color behind the footlights, but very early in picture making 
the directors discovered that any tone of red photographed 
black on the screen, so rouge was tabooed. Stage people 
also use blue about the eyes and sometimes brown, while 
picture people more often use black. In my first picture 
with Vitagraph, the director, Fred Thompson, declared that 
he did not wish any of his people to use make-up, as he 
believed it produced an artificial effect. Few directors, 
however, agreed with Fred, and nowadays it is an absolute 
requisite. Looking over my stills of some eleven years 
back and comparing them with later-day ones, some made 
within the past three weeks as a matter of fact, I actually 
look younger than I did years ago. In the old days 
we also had some very interesting experiences in 
the way of forgetting what we wore in one scene 
and appearing the next moment according t 
story, but really photographed a day or so 
later in an entirely different suit of clothes. 
It was then up to the director and players, 
individually, to remember what had been 
worn in an earlier scene that called for 
duplicates later. The assistant director 
is now entirely responsible. He keeps 
accurate tab on every minute detail of 
what is to be worn by the various people 
in each scene. Then he is called upon 
to tell whether so and so wears a Prince 
Albert or a pair of junipers or whether 
milady puts on a simple frock or an 
evening gown. He is there to remember 
what we wear from scene to scene. 

wear an overcoat. I had been told that one coat would an- 
swer the purpose, so I brought along the one which I had 
worn in former scenes. But when I arrived at Saratoga I 
discovered that the prologue was being done. A lapse of 
fifteen years in the story occurred before the main action in 
which I had already appeared began, so I was forced to wear 
the same overcoat in the scenes fifteen years apart. 

Apparently little notice was taken of the discrepancy, 
but sometime later I received a letter from a lady who 
ingenuously questioned toward the end: "Tell me why Carl 

Julia Swayne Gordon in a scene with Mr. Williams 

Several years ago when Vitagraph was making "The Ven- 
geance of Durand," a discrepancy in costume befell me. Edith 
Storey and I were playing the leads, while in the company were 
Julia Swayne Gordon, Hoger Lytton, Harry Northrup, Leo 
Delaney, E. K. Lincoln and Jimmie Morrison. 

Ralph Ince arranged for us to make the scenes on the Spencer 
Trask estate near Saratoga, and it was most important that I 

A scene front one of Edith Storey's early 
successes. Center: A scene from "The 
Christian," in ivhich Miss Storey played 
Glory Quayle. 

wore the same overcoat sixteen years 
later?" In my opinion there will 
never be a perfect picture even with 
the best assistant director on the job 
until scenes are made in sequence. 
For instance, in a picture the script 
may call for a fight scene inside a 
room. After the fight, one of the 
characters is seen leaving the room and 
passes down the hallway outside the 
oor. In the making of this picture it 
iy transpire that the scene showing one 
of the combatants leaving the room was taken 
before the light scene; perhaps with a day or 
so intervening. Now, how can an actor know just 
how he will appear after a fight that has not yet taken 
place? I say that he cannot! Hence, how can the 
after-fight scene be truthfully portrayed showing how he 
would really look and feel after leaving the scene of 
battle, unless the scene is taken immediately following 
the fight? 

Then, too, there is the question of tempo. A man 
who has engaged in a fistic battle is wrought up to a 
furious mental state and a consequent facial expression 
which he can scarcely assume well in a scene taken under 
calm auspices with no fight preceding it. I give this 
merely as an example to illustrate many situations which 
arise wherein the lack of sequence interferes seriously 
with proper exemplification of thespian expression. 

The query has often been put to me by people: 
"Why aren't better stories adapted for the screen?" and 
then they go on to enumerate favorite stories which they 
say would make wonderful photoplays. I wonder 
whether picturegoers ever stop to realize that practically 
every great short story or novel has already been 
turned into film product. (Continued on page 55) 


F i I in play Journal 

Wally to the f 

By Donald Malcolm 

k CTING for the movies is as full of stops 
L\ as a pipe organ. Half a day is spent 
-L Jt in "dressing the set" for a bit of ac- 
tion, two hours more in adjusting the light- 
ing and adding the final do-dabs, and fifteen 
minutes in "shooting" the scene. Then the 
director calls "Cut!" and the star seeks out 
his canvas-backed camp chair for another 

The average screen player does more 
waiting than one of the white-clad ladies 
in Childs'. 

Wallace Reid has his share of loafing 
around lo do, of course. Only Wallie is too 
restless a chap to just wait. Either he brings 
his. saxophone along with him to the studio and toots the 
hours away between scenes, or else he locales a typewriter 
and pounds away prose or poetry of more or less importance. 

Wallace was once a reporter on a city newspaper, and he 
also spent a period of his callow youth assistant-editing a 
motor magazine; Waljje has always liked to write, since the 
days when he was editor of the school paper at a military 
academy lucked away in the southern part of New Jersey, and 
he can turn out stuff today that would probably break 
through the editorial barrage of most any magazine. 

The literary works of Wallie betray nothing if not versa- 
tility. He writes poetry, but destroys it immediately. He does 
personality sketches of his leading women, and tears them — 
the sketches — up afterward. Recently he has been toiling on 
what is undoubtedly his magnum opus — a masterpiece that 
will probably push Wells' "Outline of History" and "Main 
Street" clean out of the book reviews, be put on sale at all 
the leading railway terminals, and on tap at all the 
class barber shops, and be given away gratis with 
a ten-year subscription lo the Congressional 
Record. Wallie has been doing a Para- 
mount picture entitled "Too Much 
Speed," originally called "Watch 
My Smoke." It's another one 
and the smoke 

about automobile: 
refers chiefly, of 
course, lo the ex- 
haust p i p e of 
Wallie's big rac- 
ing car. But it 
also describes the 
alfalfa-laden pipe 
that Wallie puffs 
between scenes 
in the picture, 
when he is bent 
over a typewriter 


turning out 


sheaves of his master 

piece. So far the name 

of the book has been kept a deep 

secret. Of course, the title is liable 

to be changed many limes before one 

with the proper news-stand appeal is hit upon. 

But I am in a position to reveal that the name 

selected for the week ending May 28 is "Jazzbohemia." 
By bribing the fifth assistant carpenter with an El Fumigalo 
and dangling a ha If -page of while space in front of a press 
agent at the Lasky studio, I learned that Wallie's book is 
none other than a compendium of dope on the why and where- 
fore of modern jazz. Wallie, as a writer, is claimed to be 
more lightsome than Lardner, more agile than Ade, and 
wittier than Wilwer. 

Yesterday 1 pulled a coup d'etat. I snuck into the studio 
and crawled on all fours to a Grecian column that was just 
abaft the typewriter upon which the young author was hack- 
ing. I waited until Director Sam Wood started herding in 
ihe "extras" and had sent a last-minute call for Wallie. I 
watched Wallie toss several sheets of paper into the type- 
writer desk. And when he had departed for the "set," I did 
a Bobcain — I stole the paper-r-rs! 
They were part of Wallie's manu- 
script — an excerpt from his book on 
jazz. Here it is: 

"Ciiaptek I 
"A Defense of Jazz Dancing 
"Please, Mr. Blulaw, spare the 
jazz dance! 

"Let (here be reservations, if 
need be, to the League of Syn- 
copations, but ban not the shak- 
ing of the shivering shimmy, 
the jangling jingles of the jolly 
jazz, the tortuous toddle, the 
comical camel and the colorful 

"Putting the ban or. the jazz dance 

is attempting to throw a monkey 

wrench into the wheels of progress. 

1921 is the Jazz Age. Jazz is joy. It's 

e same as pepper, tobacco, zip and- — 

Jazz is the foe to all that is stilted 


ay, more than ever before, the world 
; to laugh. No more sorrow than is 
tely necessary is needed. Modern 
ove lo live. They crave all the joy 
g that life can give them, 
dance is a (Continued on page 50) 

January, 1922 


With foreign blood her heritage, Alia Nazimova 
doubtless fills her role more satisfactorily in Camille 
than could any other actress afforded the screen. 

This picture uill be one 
of Metro's biggest bids for 
popularity this year, and 
should take its place as 
one of the leading picture 
productions of all times. 



Reaching the Zenith of Her Achievements as an Emotional Interpreter for the Screen in This Filmplay 


/'' i I m play Journal, 

Passing in Review 


By Polly Parrott 

A NY discussion of lliis month's pictures must center about 
/A the phenomenal "Theodora." All the extravagant 
■J- A. adjectives that are wont to grace the circus posters 
may well herald this production. Its arrival in America 
marks Italy as an important competitor in the world market. 
Germany has produced nothing — that we have been allowed 
to see at any rate — that is belter. "Theodora" involves 
twenty-five thousand people, everyone of whom acts. They 
cannot help it. for they are Italians, and that means they 
must throw themselves into their "roles." even those which are 
merely atmospheric, with fiery fervor. Surely motion pic- 
lure making is an art with the Italians. 

This month's arrivals also include "Possession," a French 
picture, made by Louis Mercanton, a director who works 
entirely without a studio. His property is loaded onto 
wagons or trucks and oil he goes to use natural locations or 
build sets as his needs command. An interesting coinci- 
dence occurred soon after this film arrived in America. You 
see the story of "Possession" concerns the sale of ihe island 
of St. Marguerite in the Mediterranean to an Englishman. 
That very island was recently advertised in English news- 
papers for sale to "a gentleman who might desire it for 
shooting grounds." 

What with every country exporting pictures and the radical 
adjustments that are afoot in this country we should soon 
see an industry that has been completely sifted of the chaff. 

Theodora — Qoldwyn 
(Unione Cinemato Grqfica Italiana) 

There is nothing in "Theodora" that is anything less than 
gorgeous. It is such a colossal spectacle, it has such beauty, 
such authentic atmosphere, such an unbelievably large cast 
that after one has seen this picture it seems like a dream one 
has had — a dream of another world, another century. It 
must have cost several fortunes for it involves a whole city 
full of people and over twenty gigantic palaces, pavillions 
and formal gardens. Beautiful marble statuary is used in 
every scene and the composition is always perfect. The sets, 
it is said, were built on a picturesque hillside on the outskirts 
of Rome, overlooking Lake Albano. The ancient pine trees 
and cypresses form a natural background for many of the 

scenes. To see the reproduction of the enormous Hippo- 
drome is alone reason enough for seeing "Theodora." It 
was in this arena, if you remember, that the Empress Theo- 
dora ordered the lions turned loose on the people. A more 
exciting moment I have never witnessed on the screen. If 
only children could take history in this delightful form, how 
well they would love and remember it. The story of "Theo- 
dora" closely follows Sardou's famous romance. It was 
directed by Commendatore Arluro Ambrosio. Here's to 
him! He has made the greatest picture, viewed from any 
standpoint, that it has yet been my pleasure to see. 

The Sheik — Paramount 

The filming of this phenomenally popular novel by E. M. 
Hull has been done quickly land carelessly) so that the pic- 
lure may lose no lime in reaching the particular part of the 
world that is hungry for it. Since ihe book, which is al- 
ready in its twenty-seventh edition, or something like thai, is 
being read by every woman from Portland, Oregon, to Port- 
land, Maine, nothing could be more natural than a quick 
filming of the story. 

The mighty Sheik is portrayed by Rudolph Valentino, who 
seeks to dispel the impression that he is a Utile short for the 
pari by cultivating a ridiculous stride, calculated to convey 
towering strength. His make-up is bad, his costume — but 
why consider "The Sheik" seriously? All of you who love 
Rudolph Valentino must aim to erase the memory of him 
in this role and look forward confidently for better things. 
As for Agnes Ayres in the role of Diana Mayo, the English 
heroine, she plays the meaningless, melodramatic role with 
such a fervor of overacting thai it lea\es one with the im- 
pression that perhaps she thought "The Sheik" was a satire 
on melodrama. If some one had started throwing pies in 
the background it w 7 ould have seemed nothing more than 
appropriate. Adolphe Menjou gave a good performance as 
a French novelist. Menjou is handsome, suave; a technician. 

Although most of "The Sheik" reeks of the sludio: obvious 
sellings, backdrops and what not, it has ils good points seen- 
ically. Whole caravans of galloping horses tearing through 
a great stretch of sand are impressive and realistic. One felt 

a n u a r 



llie heat, the vastnesc and. for a moment, the plausibility of 
this impossible tale. A sand storm is exceedingly well done. 
It is when the film leaves the Hull story that it was at its 
best. But when it resumes the action of the novel it becomes 
the sort of thing thai -well, that is going l<> make it one of 
the biggest money makers in America. 

My Lady Friends -First National 

It is inconceivable that a piece of humor so delightful in 
llie theatre as "My Lady Friends" could become on the screen 
so tedious a piece of vulgarity. The charm of the original 
play lav not in the action, but in the contrast between the 
central characters and the vulgar situations in which their 
innocence involved them. "My Lady Friends" presents no 
such contrast. Persons vulgar and commonplace themselves 
move through vulgar and commonplace situations, sit about 
on hideous furniture in appalling rooms with other dull per- 
sons with whom it is impossible to believe that their relations 
are such as were indicated by the captions. The captions 
are taken from the play and apply not at all to the screen 
version. To compensate for this loss of characterization 
neither action nor surprise is introduced. The atmosphere 
ol the original is totally lost and the result is dreary and 
dull. Mr. and Mrs. Carter de Haven are seen in the prin- 
cipal roles. 

Her Social Value — First National 

This picture, starring {Catherine MacDonald, is chiefly an 
achievement for the art director. The exquisite interiors 
reveal a genius for simplicity in composition, and every de- 
tail of the backgrounds against which Miss MacDonald poses 
is arranged so a* to enhance rather than detract from the 
star's patrician beauty. For all this, large credit belongs 
to Floyd Mueller. 

The story is crude, commonplace and obvious, but when 
one has Mis* MacDonald to look at and these charming 
photographic effects to rejoice the eye, it is quite enough. 
"Her Social Value" has to do with a salesgirl who marries 
into an aristocratic society and the subsequent testing of her 
husband's true worth. It is not the kind of a story which 
leaves any impression five minutes after one has left the 

Ladies Must Live — Paramount 

The theme of this stor\ is undoubtedly of interest to every 
girl in America whether she means to make use of the lesson 
it leaches or not. "Ladies Must Live" was the last picture 
George Loane Tucker made before he died and it has the 
same big sweep and allegorical tendency of '"The Miracle 
Man." Betlv Compson is featured in a role well suited to 

her talents, thai of a young husband hunter, who is obliged 
to "work fast" because her money is running out. 

Although Betty and her romance hold the center of the 
stage we are shown seven or eight fully developed situations, 
the action of each resulting from the fact that "ladies must 
live." There is a working girl who cleverly gets the loan 
of a thousand dollars from a man who had distinctly different 
intentions, and we see her using the thousand to accomplish 
her aim to fit herself in life — the marketing of herself in the 
world of men. We see the other kind of girl, the one who 
doesn't know how to fight and "bunt." We see the conven- 
tional situation of the show girl who married the millionaire 
and the intricate love politics in their home. There is good 
material here 'for the girl who can use it. Of course, near 
llie end of the film, we have the moral, which comes in the 
form of a sermon from a scrub woman — a very sentimental, 
melodramatic speech. But by the time the moral reaches 
the spectator all the information about how some of the girls 
"got away with it" is fully put over. There are some very 
hackneved types in "Ladies Must Live" and the whole film 
needs cutting badly, but it is most amusing as it stands. One 
wishes Miss Compson had more to do, but one can't have 

Possession Robertson Cole 

A super-thriller. All about the blood-curdling adventures 
of a nice young Englishman who buys a small island in the 
Mediterranean. The island is under Turkish rule and. it 
develops, several other kinds of governments, including a 
very active Bolshevist movement right at home. The plot 
loses no time getting under way and the action is quick ami 
exciting. There are some very good fights, some weird 
scenes in an interesting cave and a well-told love story. The 
film was adapted from Sir Anthony Hope's novel. "Phroso." 
It is a French production and was directed by Louis Mer- 

Lhider the Lash Paramount 

This picture, which was adapted from the book and play, 
"The Shulamite," is Gloria Swanson 's second starring vehicle. 
It presents her in the role of the wife of a Boer farmer who 
is accustomed to beating his wile every morning before 
breakfast just by way of a reminder that he is the ruler in 
his home. The selection of Miss Swanson lor a role of this 
type suggests the fact that she had a characterization to give 
llie world. Apparently, this was not so. for a more unsuit- 
able role Miss Swanson has never had. The story is not 
convincing, although it may succeed in making you hopping 
mad. All of the oldest triangle situations are employed as 
well as obvious tricks of suspense. "Under the Lash" 
serves to present Lillian Leighlon in a new kind of role — 
that of a typical Boer wife. She (Continued on page 55) 

t'mlrr the l.ilsh 

Ladies Musi Lift 

The Sheik 


Film play Journal 

Out of the West 



By R. Evans Otis 

EAST is worst! That seems to be the verdict of the motion pic- 
ture producers who are fast transferring their activities to the 
land of the eternally alleged eternal sunshine. Cosmopolitan 
is the newest arrival. Robert Vignola, who has recently completed a 
picture with Marion Davies, is preparing for a second, and Frank 
Borzage, creator of "Humoresque," will be at work shortly. Constance 
Talmadge came into town a few days ago and announced that Norma 
will follow shortly. It seems certain that Famous Players will not 
reopen their Eastern studios before next spring, and Metro has defi- 
nitely announced that all future pictures will be made in California or 

The celebration of Hollywood's tenth anniversary as a motion picture 
center was passed over lightly by everyone here but the Christie press 
agent. To Pat Dowling, it looked too good to miss, and Pat, true to 
form, did not miss one chance to tell the world that Al Christie 
was the one who started Los Angeles on the way to becom 
ing the motion picture capitol of the world. Christie's 
first studio, opened in October, 1911, was a one-time 
roadhouse. The tap room became the carpenter 
shop; the outdoor restaurant, only forty feet 
square, became the stage; and the stables served 
as dressing rooms for such well-known players 
as Louise Glaum, Harold Lockwood, Russell 
Bassett, Dorothy Davenport, who is now 
Mrs. Wallace Reid, and Victoria Forde, 
who has retired since she married Tom Mix. 
Christie's present day studio is quite 
different these days — in fact, I think it 
is the largest comedy studio on the coast. 
The Lasky studios are California's 
busiest. Penrhyn Stanlaws is completing 

Center : Constance Talmadge has returned to Hollywood 

Above : Samuel Yet- 
ter, ninety-eight-year- 
old screen aspirant, 
visits the studios 
with Raymond 

Gloria Swanson and some scnoritas who appear teith her in "The Hnsbantl's Trademark" 

Barrie's "The Lit- 
tle Minister," 
from E. A. Bing- 
ham's adaptation. 
William D. Taylor is 
preparing Miss Comp- 
son's next vehicle which 
will be placed in produc- 
tion within another week. 
George Melford, whose production 
of E. M. Hull's "The Sheik" has been re- 
sponsible for all the recent flapping of the 
flappers, is in San Francisco with Rudolph 
Valentino and Dorothy Dalton, who are to 
be featured in "Moran and the Lady Letty," 
Monte Katter John's version of the Frank 
Norris novel. 

T. Roy Barnes, who proved his right to 
screen stardom by his remarkable perform- 
ance in "Scratch My Back," is to be featured 
by Lasky in a picturization of Leo Dittrich- 
stein's stage play, "Is Matrimony a Failure?" 
Production will be started under direction of 
James Cruze, as soon as he completes "One 
Glorious Day," in which Will Rogers and 
Lila Lee play the leading roles. Walter 
Hiers, who has been constantly busy on the 
Realart lot of late, will appear in the Barnes 

Having completed "The Call of the North," 
his first star picture, Jack Holt is now at 

January, J 9 22 


Above: Jack Holt gets 

acquainted with the 

Middle Ages 

work on "The Par- 
son of Panamint," 
Albert Shelby Le- 
Vino's version of 
Peter B. Kyne's story 
of the same name. 
Joseph Henabery is 
directing, and the cast 
includes Fritzi Brunette, 
Herbert Standing, Wade 
Boteler, Mabel VanBuren, 
Will R. Walling, J. P. Lockney, 
Fred Huntly and Betty Francisco. 

Gloria Swanson is completing "The Hus- 
band's Trade Mark," an original story by 
Clara Beranger, with a cast including Stuart 
Holmes, who has been seen all too infre- 
quently lately, and Richard Wayne. Gloria's 
next, which Sam Wood will also direct, is 
"Beyond the Rocks," by Elinor Glyn, now 
in England, who announced before she left 
that she would have her own producing com- 
pany on her return to America. 

Wallace Reid in "The Champion," Thomas 
Meighan in "If You Believe It, It's So," Ethel 
Clayton in Elmer Rice's "For the Defense" 
and Agnes Ayres in "The Lane That Had No 
Turning" will finish with the next two weeks. 
William deMille with Clara Beranger, the 
author, is preparing the script for his next 
picture. Cecil DeMille's "Saturday Night," 
now nearing completion, is said to be more 
elaborately staged and gowned than any pic- 
ture he has previously attempted. His cast 

ludes Edith Roberts, Conrad Nagel, Jack Mower, Julia Faye and Beatrice Joy, 
it is rumored, is seeking a divorce from Jack Gilbert. May McAvoy, who, 
by the way, is reported to be engaged to marry Eddie Sutherland, has started 
a new picture under the direction of William D. Taylor. Walter 
McGrail, who seems to have made quite a hit with Lasky by his work 
opposite Ethel Clayton in her last picture, plays the male lead, and 
the supporting cast includes Edward Cecil, Charles D. Bennett, Carrie 
Clark Ward, Arthur Hoyt and Pat Moore and Mary Jane Irving, two 
of the screen's cleverest kids. Bebe's next is a Spanish story by Nina 
Wilcox Putnam, which gives her a chance to appear in boy's clothes 
as she tries to smuggle booze to the United States from Havana. Pat 
O'Malley, unfortunately not heard of since he worked for Neilan, 
plays opposite the star, and Chester M. Franklin is directing. Hector 
Turnbull wrote Wanda Hawleys' current production, so it should be 
a good story. William Boyd is her foil; Thomas N. Heffron is 
directing. Mary Miles Minter is vacationing and buying shoes. I 
seem to run into her every day as she is entering a boot shop, which 
holds forth across the street from my favorite bootlegger. 

At Goldwyn's, the best kept studios in the West, there is more ac- 
tivity than there has been all season. Alfred E. Green, who directed 
Mary Pickford in "Little Lord Faunueroy," is the newest recruit of 
the Culver City forces. He is scheduled to wield the megaphone on 
Rupert Hughes's next story, "Sent for Out," in which Colleen Moore 
will be featured. Colleen, who recently completed "The Wall 
Flower" for the same company, is reported to be slated for stardom 
by Mr. Goldwyn. It is my guess, though, that she will be 
back with Neilan after he completes "Penrod." 

Jane Novak will start work shortly in her own pic- 
tures for Chester Bennett Productions. Chester 
is also starring one of the Mary Andersons, but 
there are so many of them that it is impossible 
to say which this is. However, I think this 
Mary Anderson was the star of "Bubbles." 
E. Mason. Hopper, to get back to Goldwyn, 
is now hard at work on Anzia Yezierska's- 
"Hungry Hearts." Ethel Kay, who was 
scheduled for the leading role, was forced 
to retire from the cast because of ill- 
ness. Helen Ferguson, leading woman 
in William deMille's next, has supplant- 
ed her. The (Continued on page 56) 


Kathryn McGuire is a member of the 
Ladies' Knickers Club 

If ill Rogers superintend.* 

oj a close-up oj Alan Hale's jeel 


F il m play Journal 

East Goast Activities 

By Leo Leary 


RODUCTION activity in the East still remains far 
below normal and, with the withdrawal of Norma 
and Constance Talmadge from their Eastern Studio to 
Hollywood, conditions appear even more uncertain than 
they did a month, ago. The oft-repeated rumor that Para- 
mount is about to open its Long Island Studio still remains 
a rumor and the huge building stands empty and idle. 
\\ ith the exception of one evening, on which it was opened 
for a dance given by the Paramount club, an organization 
of Famous Players employees, it looms on the Astoria 
skyline like a monument to Shattered Ambition. 

Selznick, Fox, Vitagrapb and R-C Pictures are all ac- 
tive, the last named company having taken over the old 
Metro Studio. Recently, they gave a studio party during 
ihc (ilming of a big cabaret scene in which Billie Dove, a 
member of the cast of the musical comedy "Sally"' played a 
prominent role. Cosmopolitan is also busy. The great 
success of Marion Davies in "Enchantment" has revised 
the critics' opinions of her ability and has caused Cosmo- 
politan to make elaborate plans for future pro- 
ductions in which she will be starred. 

Work on "The Two Orphans," which /^ 


I). \V. Griffith is directing at his studio 
in Mamaroneck, is progressin 

splendidly and the production will 
soon be completed. Dorothy 
Gish, famous for her perform- 
ances as a comedian, is to be 
seen as the pathetic blind sis- 
ter, and whispers which have 
filtered out from the Griffith 
stronghold, give promise that 
her characterization will be a 
masterpiece. Indeed, if rumor 
can be believed, "The Two 
Orphans" will present a galax} 
of remarkable 
inter - 

Richard Bathelmess and Louise Hull enje 

"location"* tiip tin a yacht 

Charlie Ray prepares jur his first trip 
to New York 

prelations. Lillian Gish is to 
be seen as the other orphan and 
Joseph Schildkraut, who plays 
the title role in the stage pro- 
duction of "Liliom," appears 
as the Chevalier. Lucile La- 
verne, a character actress of 
great talents, gives a thrilling 
performance as the cruel Mother 
Erochard, and Frank Puglia, re- 
cruited from Mimi Aguglia's Sicilian 
repertoire company, as the crippled 
Pierre, plays a sympathetic part for ever) 
bit of pathos there is in it. Indeed, to speak 
in theatrical parlance, everybody in the 
cast promises to "run away with the show." 
The production itself is one of the most 
elaborate ever undertaken by Griffith. The 
scenes showing the garden fete are things 
of rare loveliness and the costumes are creations of great 
beauty. i\o date for lire release of lire picture has been 
announced, but its first showing is being awaited on all 
sides with the greatest interest. 

The usual number of special showings are taking place 
each week. Recently "Red Hot Romance," a John Emerson- 
Anita Loos production, was presented before an invited audi- 
ence at the new Ambassador Hotel, and in the same week 
Mae Murray and Bob Leonard showed their new picture. 
"Peacock Alley," in which Miss Murray is starred. It is a 
picture of the type of her highly successful "The Gilded 
Lily," and is an even belter vehicle for her unusual talents. 
In his direction Mr. Leonard has grasped every opportunity, 
not only to bring out the dramatic qualities of the story, but 
to enhance its interest with settings of extraordinary beauty. 
The customary crowd of film and (Continued on page 5H) 

Alice Calhoun 
indulges in a 
little music 

Jan uary, 1 922 



The Editor's Page 

I HOPE every reader of Filmplay reads the 
editorial by Mary E. Brown, "Don't Stop at 
Hollywood," which is a feature of this issue. 
-1 believe that in it the writer has expressed the 
sentiments of a majority of the picture-goers of the 
United States following the first published reports 
of the recent unhappy occurrence in a California 
city. At first thought it is logical enough to con- 
demn all the workers in films because one of their 
leaders has done something to bring discredit upon 
himself. This is particularly true in the case of 
parents whose children found in the player now 
in disgrace one of their greatest screen idols. It 
may seem simpler to them to condemn all pictures 
than to answer their children's questions as to why 
they can't see their favorite comedian any more. 
On further consideration, however, is it just to 
blame a great industry for the misdemeanor of but 
one of its members, even though that man held a 
foremost position in his chosen field? Are there 
not just as many culprits — and in the same ratio 
to the rest of their classes — in every walk of life, 
whose actions are never searched out by the lime- 
light of public interest? Think it over before you 
form your final opinion. Mary Brown did. She 
set down her thoughts on paper and, quite unso- 
licited, she submitted them to me. A resident of 
a mid-western city, I believe she has expressed the 
true feelings of the people, not only in her own 
community, but of the picture-loving public of 
the nation. What do vou think? 

AS ONE comedian, through his own acts, falls 
. into disfavor, so another one, through his, 
blooms forth as a new genius of screen comedy. 
Recently it has been my pleasure to see two of 
Buster Keaton's new comedies, "The Playhouse" 
and "The Boat." For clean, ingenious comedy I 
have never seen their equal. No, not even in the 
glorious absurdities of Charlie Chaplin, one of 
which I saw at the same showing during which 
"The Playhouse" was presented. Chaplin hits 
many high spots of hilarity, but Keaton's humor 
is continuously at the highest pitch. His mind is 
an inventor's mind, but instead of creating ma- 
chines or guns or airplanes he turns out comedies. 
Who else could have conceived the scene in "The 
Playhouse" in which the tank used in a diving act 
on a vaudeville stage bursts and floods the theatre, 
washing the audience out into the street? What 
other comedian would have visualized the comic 
possibilities of the boat built at home during the 
winter which, with the coming of spring, turns out 
to be too large to carry out to water? Or the later 
scene in which the bathtub, rescued when the house 
has collapsed during the removal of the craft, be- 
comes a lifeboat until a youngster pulls the plug? 
If Keaton continues to display the masterly sense of 

the ludicrous which he has shown in his recent 
pictures the world will claim him for its own as 
it has claimed Chaplin. Weary humanity has 
place and need for both of them, for they both 
possess the heaven-sent power to release the pris- 
oned laughter which is within us all. 

HAVE you ever stopped to think how the rest of 
the world sees its pictures and what kind of 
pictures it chooses as its favorites? I have thought 
a great deal about it and I have persuaded travelers 
in out-of-the-way corners of the world to write a 
series of articles for Filmplay which will bring 
to you vivid glimpses of picture theatres and pic- 
ture audiences in foreign lands. Did you know 
that in Great Britain the presentation of pictures 
as we know it in the United States — a program of 
music and special features surrounding die pic- 
ture — is almost unknown? Did you know that in 
Athens pictures are shown as entertainments in 
cafes and that their presentation is merely inci- 
dental to the consumption of coffee and cakes? 
Had you stopped to think that, because of the fact 
that the motion picture is essentially a form of 
family entertainment, it might not have found a 
very warm reception in Turkey where family life 
is a thing shut in and protected by century-old con- 
ventions? Did you know that in Central America 
picture audiences show their approval or disap- 
proval by shouting as loudly as a football crowd? 
Whether you have ever considered these things or 
not you're going to be interested in a series of arti- 
cles which begins in February Filmplay. The 
first of the group is the story of a rambling jaunt 
through Europe in the study of film conditions 
abroad, and takes the reader to the theatres and 
studios of London, Paris and Rome. The next in 
the series is a delightful story of evenings spent in 
the picture theatres of Athens. Then will come a 
highly amusing article on the status of the filmplay 
in Constantinople where harem wives scarcely 
recognize harem life as it is depicted on the screen. 
Then we will jump to Manila and the Far East, 
returning by way of Panama and Costa Rica. 
Travel through the motion picture theatres of the 
world with Filmplay's writers! You'll find 
amusement and interest in every trip. 

FILMPLAY will continue to publish its series, 
"Film Stars, by Those Who Know Them Best," 
because it believes its readers want true pictures of 
their favorites. In fact, Filmplay plans so many 
interesting features that you can't afford to miss a 
single issue. It's your magazine. You determine its 
policy and many of you are contributing its articles. 




Film play Journal 


He knows 




(Dad Kill be glad 
tell you everything 
knows about film plays and, film 
players, provided your questions 
ii ill prove of general interest to 
all readers. Address all com- 
munications to "Dad," Fii.mplav 
JOURNAL, /•> Vast 10th Street, New York City) 

Marguerite. — Tommy Meighan is at present 
in California and can l>e addressed at llie 
Lasky Studio in Hollywood. He is still work- 
ing under the direction of Tom Forman for 
the pair of them have proved to he a combi- 
nation which unfailingly turns out interesting 
pictures. ■ 

Herbert. — Betty Compson has already began 
work as Lady Babbie in Barric's "The Little 
Minister" under the direction of Penrhyn Stan- 
laws. George llaekalhorne, who did excel- 
lent work in several of Lois Weber's special 
productions for Paramount; plays the name 

Mitch.— Mrs. Piekford and little Mary Pick- 
ford Rupp accompanied Doug and Mary to 
Europe. The illustrious pair plan to stay 
abroad for a year although they may make a 
ll\ ing business trip hack to the Slates some 
lime about the first of the year. Mrs. Pick- 
ford has adopted her little granddaughter, you 
know, and she is always with her. 

Gabriel. — Mae Murray has just completed 
'•Peacock Alley" and will shortly begin work 
on another picture, as yet unnamed, under 
the direction of her husband. Robert Z. 

Mary. — Dick Barthelmess has completed 
"Tol'ablo David" and is already at work on 
a new production, the first scenes of which 
are being made on the coast of Maine. Tol'- 
able David." from the story by Joseph Her- 
gesheimer, is said to be one of the best things 
that the popular young star has done. 

Helene. — Bebe Daniels may be addressed in 
care of Realart Pictures, 459 Fifth Avenue, 
New York City. 

Studious. — Henry Arthur Jones returned to 
England in the late spring after passing six 
months in this country. I doubt very much 
that he will return this coming winter for I 
believe he plans to spend the cold weather in 
the south of France. 

Reckless. — No. Elinor Glyn is not in this 
country. She is spending a short time in 
England and France. However. I believe she 
intends returning to America in a short time. 
She will probably supervise the making of 
some of her original stories into filmplays and 
it is also possible that she will give a series 
of lectures in the principal cities. 

Essie Mae. — I am sorry that you must be 
the recipient of sad news this month. Pre- 
pare yourself for the shock. Kenneth Harlan 
is married. Therefore, I don't suppose his 
address will be of any use to you. 

D. St. Clair. — You can address Pearl White 
at the Fox Studios, New York City. 

Freddy. — James Kirkwood is now in Lon- 
don, where he is making a picture at the 
Islington studio belonging to Paramount. I 
don't know how long he'll be over. Ann 
Forrest. Norman Kerry. Anna 0- Nflsson and 
several other players well known in this coun- 
try are working in England at present. They 

say that Poole Street — where the studio is 
located — looks like Hollywood, except for the 
fact that there's no California sunshine. 

Dixie.- — I am glad you like the picture of 
Marion Davies in October Fii.mi'I.ay. You can 
address Frankie Lee at 1460 Vine Street. 
Hollywood. Cal. Write Jane and Katherine 
Lee in care of the Rogers Film Corporation. 
1639 Broadway, New York City. Mary Jane 
Irving's address is 828 South Burlington, Los 
Angeles, Cal. 

May C. — Questions concerning the marital 
difficulties of screen players are mailers of 
their own concern ami I cannot answer them 
in this column. This department is main- 
tained to give out real information, not to 
retail gossip. 

Anna James. — I am not aware that Agnes 
Ayres has played in any recent Fox picture 
in which Rene De Brey appeared. In fact, 
I don't believe she has ever been with Fox. 

Priscilla Pierce. — Richard Barthelmess may 
be addressed in care of Inspiration Pictures, 
565 Fifth avenue. New York city. 

Edna W. — Wallace Reid should be ad- 
dressed at the Lasky Studio. Hollywood. Cal. 
Read James Kirkwood's article in November 
FlLMPLAY. It will give you some advice 
about getting into pictures. Don't attempt it 
unless you expect to experience innumerable 
rebuffs and have sufficient money to take 
care of yourself during a long, hard struggle 
in some picture-producing center such as New 
Y'ork or Hollywood. I'll try to write you a 
personal letter in the near future. 

Mary Sekac. — See the answers to Edna W. 
and Eva Casteel. You have one advantage 
they haven't. You live in New York where 
there are many studios. The only thing I 
can suggest to you — if you are in earnest — 
is that you apply for work at a studio. You 
must begin at the bottom of the ladder. 

Margaret Kobe!. — See the answer to Pris- 
cilla Pierce. 

Mae Thompson. — Address Richard Barthel- 
mess in care of Inspiration Pictures. 565 Fifth 
avenue. New York city. Mary Hay being his 
wife, the same address naturally goes for 
her, too. Famous Players, 485 Fifth avenue. 
New York city, will reach Gloria Swanson 
and Thomas Meighan. Mr. Meighan is mar- 

Eva Casteel. — My answer to Edna W. will 
also answer your question. The only way a 
girl can get into pictures is to go to some 
place where they are being made and dem- 
onstrate to the director or producer that she 
has such talent that he can't afford not to 
cast her in a picture. This, naturally, is not 
any easy thing to do because, in the first 
place, it is very difficult to see a producer 
or a director. There is no short cut to a 
place in filmdom. So many girls dream of 
being stars, never stopping to think how hard 
and how long those who have attained star- 
dom have worked. Unless you have far more 
talent than the average girl, an abundant 
store of optimism and an income to provide 
for your living in Hollywood or New York 
for a period of at least six months (you 
couldn't give yourself a fair trial in less than 
that time and at the end of it you would prob- 
ably be little more than an extra girl). I 
would forget all about wanting to "join the 
movies." And I'm a serious minded old man 
and know what I'm talking about. 

La Hean de Goldia. — I rather think I will 
be correct if 1 tell you Monte Blue is thirty. 
I have never heard of his marriage. I don't 
know whether he would write to you or not. 
There's nothing like taking a chance. You 
can address him in care of the Famous Play- 
crs-Lasky Corporation, 485 Fifth avenue, .New 
York city. So the fortune teller told you you 
were coming to New York when you were 
sixteen to try for the movies. I haven't a 
doubt that you will, if he told you so. Then 
your sister, the movie writer, can write the 
movies in which you act. What has she writ- 
ten? Its very interesting to find two such 
talented girls in one family. 1 hope you have 
a good time in Ohio. 

C. W. Gylling. — Mary Piekford is at pres- 
ent in Europe and plans, I believe, to be 
abroad for at leasl a year. A letter addressed 
to her in care of United Artists, 729 Seventh 
avenue. New York city, will reach her in lime. 

George Albert, the Sergeant. — Address Bes- 
sie Love in care of the R-C Pictures Cor- 
poration Studio, Hollywood, Cal. 

Jean La Roe. — I'm sorry I haven't time to 
write to you in a personal note. Your ques- 
tions are so general that I think many of 
FlLMl'l.Av's readers will be interested in the 
answers. Pauline Frederick, Hayakawa, 
Katherine Spencer. Bessie Love. Billie Dove 
and Doris May are Robertson-Cole players. 
Alice Calhoun. Corrinne Griffith, Pauline 
Starke. Earle Williams and Alice Joyce arc 
with Vitagraph. Garcth Hughes. Viola Dana. 
Bert Lylell and Alice Terr)' are with Metro. 
Mary Carr and Pearl While are Fox players. 
I don't believe Monte Blue was in the navy 
and I'm sure I cannot pick out a certain 
"cowboy player" with only his height for de- 
scription. Sylvia Ashton played in some of 
C. B. DeMille's husband-wife pictures. Per- 
haps she is the one you mean. Justine John- 
ston was on the stage several years before 
entering the movies, appearing in several 
musical productions in New York and in 
dramatic stock in other cities. 

Edwin L. Yates. — Write to Miss Swanson 
in care of Famous Players-Lasky Corporation. 
485 Fifth, avenue. New York city, enclosing 
twenty-five cents. I think you will get a 

Denny. — Yes. the Talmadges have gone to 
the coast and Harrison Ford has gone with 
them to appear with Constance in the first 
picture she makes out there. He has been 
leading man for both Norma and Constance 
for some time, you know. 

/. E. Baldwin. — The editor has turned your 
letter over to me. I will try to find time a 
little later to answer you in greater detail than 
I can through this page. However. I'll give- 
you some of your answer now. All film com- 
panies naturally buy stories and. in the case 
of originals, buy them from synopses. If you 
have published stories within the last five 
years in magazines which have general cir- 
culations you may rest assured that they have 
been read by more than one producer. Most 
companies keep a large staff of readers who 
go through all the periodicals. Naturally, if 
you have had no offers for your material none 
of it has thus far struck the producers' fancy. 
Many authors employ reputable agents who 
handle their work with splendid results. I 
am not recommending this practice nor the 
ability of any literary agent, but I have seen 
it work successfully. Of course, the material 
was there. 

January, 1922 



You've heard many amusing comments on filmplays and film players. 
No doubt you've made some clever observations yourself. Filmplay 
Journal believes that these bright thoughts will bring real laughs to 
its readers, so it has inaugurated the "Reelaffs" Department. The next 
lime you hear a "Reelajf." jot it down in fifty words or less and mail 
it to the conductor of the department. RVSS, Fii.mpi.ay Journal. 15 East 
10th Street. Mew York City 

When we saw "Camille," it was the audience dial did the coughing. 
It's a good thing it was a silent drama — Nazimova wouldn't have had 
a chance of competing with our bronchitic neighbor on the right. 


The cigars smoked by Theodore Roberts, if laid end to end, would 
reach from Yap to Malleoli, Illinois. 

15.679 ladies ask the Answer Men of various fan magazines every 
month if Wallace Reid is married. 

Of the 8.802 editors who have mentioned Cecil DeMille's new pic- 
ture. '"Saturday Night." three refrained from making a wise crack 
about a bathtub. 

A star once wore the same "own in two successive pictures, bul so 
many women pot up and walked out of the theatres that the stunt 
was never tried again. 

603 people in my town go to tbe movies regularly in the hope that 
some night the hero won't find the note pinned to tbe pillow or will 
get beat up in a fight. 

A parrot is one of the accessories used in "The Cradle." Ethel Cla>- 
lon's new picture. The bird has a line ear for language and picked 
up a lot of the lingo of the studio and tucked it away in its feathered 
brain. While a very tense scene in the picture was being shot, the 
parrot suddenly shouted, "Cut!" The camera stopped obediently, 
and the scene was ruined. 

The director emitted some fireworks. Mis;. Clayton said "darn," and 
a had lime was had In all. 


The lad in "The Sheik" 
Could love like a streak. 

Is there anything in the world wetter than a movie rain': 

Suppose' Charlie- Chaplin bad been knighted, as threatened. 
The director would have to say. "Sir Charles, would you mind 
heaving thai custard pie.''' 


In making "Miss Lulu Betl." Milton Sills was required to drive a 
Ford, with Lois Wilson as his passenger. Milton had never handled 
one of the critters before, and it got away from him. The machine 
dashed madly around the landscape, the two occupants clinging to 
seats, bolts and handles desperately. 

"1 — I'll master it — yet," gasped Milton. 

"Please do." tremored Miss Wilson, "before il falls apart!" 

Theodore Roberts has won the booby prize for hauling in tbe 
smallest tuna fish ever caught at Catlina Island. It weighed twelve 

Cheer up. Theodore — we know of \ rer fish than that! 


The crowds thai Mocked to "Analol" 
Would fill the Valeses' mammoth bowl. 

What sacrifices the film stars arc called upon to make in tbe 
name of ail! 

In the special picture which W ill lingers is making for Paramount, 
he smokes — for the first time in his life. 

•\nd gets sick. 

Tom Mcighan has a big new Si. Bernard dog. Tom says the ani- 
mal is so big that with one wag of his tail be can knock everything 
off the mantelpiece. 

Who said a woman couldn't keep a secret? 

Max Allison was married twice in two years and never breathed it 
to a soul. 

W I i.i I if lit.- nations disarm? Wc still have Rill Hart. 

Buster Keaton is known as the comedian who never smiles. Even 
before he got married, he never smiled. 

The people of Los Angeles say that when Cecil DeMille named bis 
i'» picture "Fool's Paradise," he bad San Francisco in mind. 


F ilmplay Journal 

Artistic License in Picture Making 

By Frank Urson 
{Director of Paramount Pictures) 

DIRECTING and photographing motion pictures pro- 
ceeds more or less according to fixed rules. For 
instance, when a "long shot" of a scene is followed 
by a "close-up" of the same scene, the rule is that the two 
scenes must absolutely match — even as to lighting. 

A few years ago, when I was acting as cameraman for 
Lloyd Ingraham and "shooting" "A Child of the Paris 
Streets," with Mae Marsh as star, I discovered how some of 
these restricting formulae of film-making might be dispensed 
with to advantage. 

Miss Marsh was one of D. W. Griffith's stars and had been 
loaned for the production. As was his custom in such 
cases, Mr. Griffith used to drop in at our studio occasionally 
to see how things were going. 

We had no spotlights in those days. To secure the various 
"back-lighting" effects — the reflection of sunlight on a star's 
blonde head, an oil lamp's rays shining upon a face in a 
dark room, and so on — we had to resort to all kinds of crude 

One day, between scenes, I was experimenting with a cer- 
tain halo effect I was trying to get about the head of Miss 
Marsh by the use of a mirror as reflector. However, as the 
previous long shot of the same scene had been minus halo, 
1 thought that I couldn't use the halo in the close-up. It 
was against the rules; the two scenes must match. 

A few minutes later we were ready to shoot. 

"Take away the mirror," I said to an electrician. 

Suddenly a deep voice in back of me said, "What for?" 

I turned around and discovered Mr. Griffith standing there. 
"Why take it away," he went on, "when you got such a beau- 
tiful effect by using it?" 

"Why," I explained, "in the long shot we didn't have any 
such light — I was just fooling around with the mirror — of 
course I couldn't use it — " 

"Nonsense," he retorted. "Don't be so hidebound. If the 
lighting doesn't offend the eye, it's all right to use it, whether 
it matches the long shot or not. If the failure to match up 
is offensive to the eye, it's no good. The chances are, if the 
effect is beautiful enough, your audience will never know 
whether you matched up or not. The expert would detect 
the difference, of course*— he'd probably say, "That chap 
took a chance, but he got away with it. More power to 
him.' " 

Mr. Griffith's words started me asking myself if there 
wasn't such a thing as artistic license in film-making, just as 
there is poetic license in verse-making. If the result is beauty, 
why should one be so tremendously concerned whether it 
was attained by following set rules or not? 

This artistic license may be carried with good results, if 
wisely handled, beyond the sphere of lighting and into 
almost every phase of motion picture production. 

Why should one be absolutely true to nature in making 
pictures, when, by altering the facts just a little, much more 
striking effects may be secured? 

No stage play or novel or painting was ever absolutely 
true to reality. It is the privilege of the artist to color to 
some extent the matter with which he deals. He suggests 
things that are not shown, he causes his characters to do 
things they might never do in actual life. If he is artist 
enough to avoid offending the eye of the spectator or the 
sensibilities of the reader; if he has good taste and a healthy 
mind, he will seldom err. 


(Continued from page 16) 

interviewing army held possession of Miss 
Swanson's suite in the Ritz. A painter 
wanted to paint her picture, and a sculptor 
wanted to sculp her profile. She allowed 
them to move the messy tools of their trade 
into her sitting room, and she sat for them 
both at once — for two solid hours. She dis- 
cussed fashions with a fashion lady and, re- 
tiring to another room, tried on a couple of 
new gowns, so that the lady could sketch 
them. (By the way, Miss Swanson says the 
dresses will be longer. At least, hers will.) 
She talked with six people from six magazines 
on six different subjects, autographed a dozen 
photographs with an original sentiment on 
each, answered the 'phone twenty times, and 
kept a big box of candy circulating among 
her guests. 

I interviewed Agnes Ayres over at the 
Paramount Long Island studio while she was 
working on one of the "Cappy Ricks" scenes. 
We sat in a couple of camp chairs near the 
"set." Director Tom Forman hovered around 
uneasily for a bit, then interrupted us. 

"You'd better get your slicker and boots on 
for this next scene, Miss Ayres," he sug- 

The next scene was the shipwreck. A 
structure made to resemble the forward deck 
of a ship stood near us. It was built on 
rockers. Miss Ayres and three raincoated 
sailors took their places behind the rail on 
the bridge. "Rain!" said young Mr. For- 

man. Gallons of water descended from the 
roof of the studio. "Wind!" said Mr. For- 
man. An airplane propeller mounted on a 
truck was turned on and, whizzing a mile a 
second, sent the water crashing in an almost 
solid sheet against Miss Ayres and the trio. 
Meantime, studio men rocked the boat in all 
directions. It rolled and tossed, and pretty 
Agnes Ayres clung desperately to the rail for 
her life. This went on for ten reeling min- 
utes. Finally, "Cut!" said Mr. Forman, and 
the storm was over. 

Miss Ayres sat down, nearly exhausted, and 
removed slicker and boots. She must have 
felt like nothing so much as retiring to her 
dressing room and sinking onto her couch for 
a long rest. 

Instead, she tossed back her disheveled hair, 
smiled, and came over to the chair beside me. 

"Let me see," she said thoughtfully. "What 
were we talking about?" 

Pause. "Oh yes—" 

And the interview was on again. 

The bulk of movie people I've interviewed 
are good sports with more than the normal 
allotment of brains and greater patience than 
a kindergarten teacher. I'm for 'em. 

Write the Words for a Song 

Submit your song-poems to us. We have the 
best proposition. Investigate our plan before 
you sign a contract. Our Chief of Staff wrote 
TIME. Millions of copies of his songs have 
been sold. 


1490 Urondway Dept. 735 New York 


(Continued from page 16) 

simplicity, her lack of pose or affectatio-i 
that impressed one most. Such success as 
hers is enough to spoil much older heads. 
That it has not, augurs well for progress. 

It was time to leave. Mildred smiled mis- 
chievously up at me and said: "You really 
should buy some jacks and practice up. It's 
a splendid game." 


(Continued from page 40) 

sign of the times and worth defending. 

"Jazz dancing is not essentially immoral. 
The old-fashioned waltz is immoral if you 
feel that way about it. Anything is immoral 
if you want to have it so. You can never 
make dancing either moral or immoral by 
prescribing how many steps may be taken to 
the minute. 

"To legislate regarding dancing is as foolish 
as passing laws against the new spring styles 
for the ladies or ordering the men to return 
to padded shoulders and peg-top trousers. 

"Back in Jackson's time folks wanted the 
Virginia reel — they got it. Today we crave 
the jazz dance — we have it. 

"Be reasonable!" 

* * * 

Well, what do you think of Wallie as a 
writer, from this sample? 

Personally I'll mail a check for an auto- 
graphed copy of the book today. 

January, 1922 


Tom Chose "Miss Lulu Bett" 

By Frank Lyle 

A FTER all, the most important personages in the motion 
l\ picture world are neither the stars nor the producers, 
■*■ -*-but Mr. and Mrs. Fan and the other members of the 
Fan family — in others words, you. 

Not only do you decide what pictures shall be shown to 
you; sometimes you even help pick out the players who shall 
play in these pictures. 

As witness "Miss Lulu Bett." 

When William deMille set out upon his enterprise of put- 
ting Zona Gale's popular novel and prize stage play into 
celluloid, his first task was, of course, to find somebody to 
play "Lulu" — the plain kitchen drudge "Lulu" who, after 
an unfortunate marriage, finds herself and issues a Decla- 
ration of Independence and blossoms like a rose. 

The actress who played "Miss Lulu Bett" would have to 
make herself just about as unattractive as possible. She 
would dress in ill-fitting gingham, pull her hair severely 
back and knot it into a slovenly psyche, and make up her 
face until all traces of beauty, if any, were eliminated. In 
other words, the actress interpreting "Lulu" would be re- 
quired to depend upon sheer ability to act in order to get 
the character over; she must, in addition, possess a simple, 
wholesome charm. 

Well, Mr. deMille carefully considered all these things 
and then selected Mildred Harris for the role of "Lulu." 

Miss Harris is a beauty of a very striking and aristocratic 
sort. She has the type of beauty that it would be very 
difficult to hide with make-up. She is a dancer and has 
undoubted charm. 

But she isn't your idea of "Miss Lulu Bett," is she? 

Well, she isn't ours, either — at least, she wasn't until we 
saw Cecil B. DeMille's new picture, "Fool's Paradise," in 
which Miss Harris plays one of the leading roles. Her work 
in that is so fine that we almost believe she could play any- 

As soon as William deMille announced that Mildred Harris 
was going to be "Miss Lulu Bett," the letters began pouring 
in. Most of them expressed the opinion that Miss Harris 
was an excellent actress, but why, they asked, should Mr. 
deMille, in selecting "Lulu," overlook the young woman 
who has been one of the most charming features of his re- 
cent pictures? Why, they demanded, not choose the ideal 
"Miss Lulu Bett"— Lois Wilson? 

Miss Wilson is good-looking, but her beauty is of a sim- 
ple, country-girl type. She is sweet and wholesome. "A 
nice girl," you say as soon as you meet her. Moreover, her 
face is easily moulded by make-up. And she has dramatic 
ability of an unsually high quality. She seems just made 
for "Lulu." 

So you fans kept telling Mr. deMille. And so he began 
to believe. And so (the third and last one) your will pre- 
vailed, and Lois Wilson was given the role of "Lulu." 

We think she'll be a wonder in the part. At least we 
showed some of the advance photographs of her in the 
part to a man high up in the New York world of art 
and literature. He has read "Miss Lulu Bett" as a novel and 
seen it on the stage. 

"Miss Wilson," he told us, "is certainly the ideal 'Lulu.' 
She visualizes the character as it appears in the novel much 
better for me than did the actress who played it on the 

Incidentally, the screen "Miss Lulu Bett" sticks more 
closely to the novel than did the stage play in another 
respect also. The ending given in the novel is retained 
rather than that of the stage play. The former was regarded 
by Mr. deMille and by Clara Beranger, who adapted the 
story for the screen, as more satisfactory. 

The cast for the picture is an unusually strong one, in- 
cluding, besides Miss Wilson, Theodore Roberts as "Dwight 
Deacon," Milton Sills as "Neil Cornish" and Helen Fergu- 
son as "Di." 


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(Continued from page 7) 

private tutors. As a child, she was always 
accompanied on her tours by her grand- 
mother, who carefully supervised all the de- 
tails of her mental and physical welfare. 

Following her auspicious beginning in 
"Cameo Kirby," Miss Mintcr appeared with 
Dustin Farnum in "'The Squaw Man. - ' ami 
with Robert Milliard, Mrs. Fiske and Madame 
Bertha Kalich. 

A vaudeville playlet of the Civil War. in 
which Miss M inter appeared, was so success- 
ful thai it was elaborated into a play, and the 
child actress was engaged In play her original 
pari in the larger production. This was 
"The Littlest Rebel." the greatest wai drama 
of the day. in which Dustin and William 
Farnuiii appeared. 

After a long engagement in the Farnum 
production. Miss Mintcr headed her own 
Company and loured the country in 'The Lit- 
tlest Rebel" for four consecutive years. 
While playing in Chicago in this drama, the 
child star changed her name. Up to this 
time she had been known by her real name. 
Juliet Shelby: but the Child Labor Commis- 
sion ruled that no actress Under sixteen could 
appear on the stage in Chicago. So Juliet 
Shelby assumed the name of her cousin. Mary 
.Miles Mintcr. who would have been sixteen 
had she lived. 

During the tour of "The Littlest Rebel," 
the photoplay came into its own. and Mary 
Miles Mintcr heeded its call, appearing in 
the "Fairy and the Waif." a Frolunan Amuse- 
ment Corporation production. She then 
made about six pictures for Metro, among 
them being "Always in the Way," and her 
first success on the screen. "Barbara Frietchie." 
In her long-term contract with American 
which followed." Miss Mintcr received the 
highest salary ever paid to a child of her age. 
The pictures she made under the American 
program are too numerous to enumerate. 
Perhaps the best remembered are "Youth's 
Endearing Charm," "Faith," "A Dream or Two 
Ago."* "Annie for Spite," "Charity Castle," 
"Social Briars" and "Yvonne from I'aris." 

Although she is still a minor. Mary Miles 
Mintcr has already been a star for five years. 

At the termination of her contract with 
American. Miss Mintcr signed with Realart 
Pictures Corporation for a term of three and 
a half years, in which time she is to star in 
twenty productions. Her first picture for 
Realart was "Anne of Green Cables," an 
adaptation of one of the famous "Anne" 
stories by L. M. Montgomery. She then, 
under the direction of William Desmond 
Taylor, appeared in "Judy of Rogues' Har- 
bor." from the famous novel by Grace Miller 
White, and in Israel Zangwill's "Nurse Mar- 
jorie," and in Wilbur Finley Fauley's "Jenny 
Be Good." Her fifth Realart success is "A 
Cumberland Romance," a screen adaptation of 
the popular novel of John Fox, Jr., "A 
Mountain Europa," which was directed by 
Charles Maigne. Miss Mintcr has also ap- 
peared in "Sweet Lavender," "Eyes of the 
Heart." "AH Soul's Eve" and "The Little 
Clown," "Don't Call Me Little Girl," "Her 
Winning Wav." She is now working on 
"South of Suva." 


(Continued from page 15) 

men in whose jurisdiction those towns lie, 
that the black spots would be wiped off before 
morning. It's selling psychology if you like, 
but it keeps the men fighting to keep their 
portion of their slate clean." 

Our conversation turned on the problem of 
film transportation. Many of the fastest pas- 
senger trains have special compartments in 
their baggage ears for the carrying of the 
round, cylindrical tins containing the precious 
celluloid. In order to make connections be- 
tween trains shadowy figures may often be. 
seen at the early morning hours taking the 
cans from one train and putting them on the 
other. Before the transfer, however, it is 
necessary to examine the film to see that 
it is intact — that none has been omitted in 
the haste of packing, or that none has been 
cut in order to conform with the proper run- 
ning time, in any theatre. 

Oftentimes managers cut a film to insert 
some local announcement of interest to their 
patrons, or attach a local advertising trailer. 
So these "Knights of the Shadows" run the 
whole film through experienced fingers, hold- 
ing it against a convenient arc light to make 
sure that the can contains the whole film, and 
only the film before sending it along on its 

An interesting crisis arose during the re- 
cent Hoods at Pueblo. All the railroad 
bridges were clown for miles, and many of 
the trains carried precious cans of film for 
delivery. The energetic district manager rose 
to the occasion and chartered a fleet of 
aeroplanes to transport his film. The cost of 
the aeroplanes more than overbalanced any 
possible profit, and the flood being technically 
an "act of God" relieved him of any re- 
sponsibility in the fulfilling of his contracts, 
but obeying the motto of keeping his cus- 
tomers satisfied won him the great respect 
and faith of his consumers. To use his own 
words, he is "sitting pretty" when it conies 
to the renewal of any dealings with the man- 
agers in question. 

We have followed the main stages of 
"Hearts Aflame." The foreign releasing as- 
pect is handled much in the same way that 
it is in this country, with the exception that 
a picture is rarely sent abroad until it has 
run usually four months in this country and 
oftentimes longer. 

After it has been shown sufficiently so that 
it has lost all its drawing power, does it be- 
come valueless? On the contrary, some of 
the biggest pictures have been brought out 
of the company's vaults after a period of 
years and utilized broadcast as a revival. 
Revivals are greatly in favor with the pro- 
ducing companies since all that is necessary 
is new prints (resting five cents a foot, a 
little of the former publicity, and the re- 
maindei is clear velvet. Many of the com- 
panies which went out of business in the 
crash of 1916 are still releasing their pictures. 

The next time you attend a picture show 
and laugh at the antics of some internation- 
ally known comedian, or thrill at some new 
stunt of daring, think of the many thousands 
the world over who are echoing your emo- 
tions it precisely the same moment. Do mo- 
tion pictures bring the world akin? Ask the 
releasing company. 


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(Continued from page 24) 

parts with Vitagraph at their eastern studio 
back in 1913. and he was anxious to appear 
before the camera again. Rankin worked 
with his uncle, Lionel Barrymorc, in "The 
Copperhead," "Jim, the Penman" and "The 
Great Adventure," with Irene Castle in "The 
Amateur Wife," with Doris Keane in "Ro- 
mance," with Mae McAvoy in "Husbands" 
and with Marion Davies in "Knchantinnenl." 
All of these engagements were in New York, 
where he felt the influence of his famous 
actor family. He was always wondering if 
he would be "getting by" if he were there 

So. after talking the matter over with Uncle 
Lionel. Mr. Rankin decided to go to California 
and stick it out until he had either succeeded 
or failed. Soon after reaching Los Angeles 
lie was offered a part in Miss Fredericks 
picl lire. "The Lure of Jade." The consensus 
of opinion about the studio was that he was 
anything but a failure in that. In fact, it 
was declared apparent that he will fittingly 

wear the mantle of histrionic greatness be- 
queathed to liim by his illustrious relatives. 

His greatest ambition? Let him speak for 

"Of course, 1 want to climb to the top in 
my profession, but next to that 1 want to 
build a home on the cliffs down at La Jolla. 
own a blue Chow dog and live there forever. 
It's the most beautiful place in the world 
to me." 

I. a Jolla is a picturesque little resort 
nestled down in a bit of rugged coast be- 
tween Los Angeles and San Diego. The 
beauty of its beetling cliffs and jutting rocks, 
flinging back in u cloud of feathery foam the 
waves that dash against them, would stir the 
soul of the most cynical materialist. It is 
small wonder that the artistic temperament of 
this young scion of stage nobility was touched 
by such a scene. The. earnestness with which 
he is working and forging ahead in pictures 
bespeaks a life of contentment there for him 
unless, of course, the evanescent flame of 
ambition leads him elsewhere. 




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(Continued from page 10) 

unusual run of one year, a stage play seldom 
is seen by more than half a million persons. 
The same play, translated upon the screen, is 
exhibited to millions throughout the world 
within the space of a few months. Tt is but 
natural that farsighted stage producers should 
see the value of closer co-operation between 
the stage and films. 

Arrangements have already been perfected 
to make available the great treasures of film 
material to be found in ihe libraries of the 
legitimate stage throughout the world, and 
during the coining years film fans will be 
entertained with hundreds of photoplays from 
the speaking stage. This co-operation will 
be carried still further by an interchange of 
plays between the silent and speaking stages, 
a practice inaugurated within the last year on 
Broadway. In addition, the stage has found 
it necessary to adopt' many of the arts and 
artifices of the movies, as witness the "cut- 
back," "close-up" and "fade-out." And now 
comes the announcement that a prominent 
Broadway producer is planning upon using a 
motion picture film which he has specially 
prepared for the instruction of his chorus 
girls in the future. Another five years and 
the old and new forms of dramatic art will 
become so inseparably linked together as to 
rival the Siamese twins. 

The new era of internationalism introduced 
at the close of the war has brought appre- 
ciably near the day when famous films will 
be given their premier showings in half a 
dozen or more world capitals on the same day. 
New York, London, Paris, Madrid, Rome, 
Brussels, Stockholm, Berlin, Petrograd, Syd- 
ney, Buenos Aires, Tokyo, Pekin, Bombay and 
Bagdad will form a giant circuit of so-called 
first run, or key centers, for the exhibition 
of films. 

Before another two years every steamer of 
importance catering to traffic in passengers 
will be supplied with a luxurious projection 
room for the entertainment of its guests. 
Many of the larger liners already have such 
accommodations, some of which are the last 
word in appointment. The larger American 
battleships already have such equipment for 
the men, and the warcraft of other nations is 
adopting the same method of providing enter- 
tainment for the seafighters while they are on 
sea duty. When Brazil's largest warship 
sailed from Antwerp with the Belgian king 
and members of the royal family who were 
bound for Rio de Janeiro, enough films were 
taken on board to provide for sixty complete 
entertainments, and when Uncle Sam's sea- 
fighters dock these days it is to take on films 
as well as fuel and supplies. 

Luxurious through trains speeding about 
the country will have their movie theaters for 
the entertainment of restless passengers. 
The exhibition of motion pictures on rapidly 
moving trains has been given several trials 
and has been found to be entirely practicable. 
Another stepping stone of future usefulness 
for the screen will be the installation of com- 
modious and splendidly furnished theatres for 
the silent art in the large hotels in every city. 
Many of the leading hotels in New York, 
Chicago, Philadelphia, St. Louis, Cleveland 
and other larger cities have become interested 
in the introduction of motion picture theatres. 

Experiments concluded recently in the 
United States have demonstrated the prac- 
ticality of screen entertainment of the patrons 
of the larger liners of the air which some day 
soon will be annihilating time and distance, 
two of the few remaining barriers to man's 
complete conquest of this planet. Commer- 
cial aviation, already introduced on an im- 
portant scale in Western Europe, promises to 
become a reality in this country shortly, and 

when that lime comes no luxurious passenger 
airship will be completely equipped without 
space for the projection of the latest and most 
interesting motion picture dramas. The hours 
that separate New York, Chicago, St. Louis, 
Los Angeles, San Francisco and other distant 
parts of the United States will be made less 
tedious with the use of motion pictures. 

One of the greatest mediums of service 
open today for the motion picture theatre is 
its availability for the speedy marshalling of 
public opinion in the hour of emergency. 
Great crises in this highly complex world of 
ours call for special and urgent treatment, 
and the screen is undoubtedly the most im- 
portant channel through which the general 
public can be quickly and effectively reached. 
By using slides to flash important announce- 
ments upon the screen in 15,000 theatres, it 
is possible for the powers-that-be at Washing- 
ton to swing to their support approximately 
half of the country's population within a com- 
paratively short period of forty-eight hours. 

Movements of the greatest political and 
social importance can be and will be initiated 
overnight. The referendum, as applied to pub- 
lic sentiment, can be made a living reality in 
every city and hamlet throughout the United 
States. In Europe, where governments rise 
and fall with the tides, cabinets and kings 
will be made or broken within twenty-four 
hours. Without the support of the great pop- 
ulation of motion picture lovers, no admin- 
istration can long endure, and the screen un- 
doubtedly will become the great political bat- 
tleground of the future. The soap box and 
the speakers' stump are deserted symbols of 
an antiquated medium for the moulding of 
public sentiment. The government or move- 
ment which can make the most intelligent 
and the quickest use of the screen will elim- 
inate nerve-wracking delay in the realization 
of victory. 

For, properly speaking, the golden age of 
the movies has just begun! 


(Continued from page 46) 

stage celebrities attended both performances. 

Dick Barthelmess has returned from a lo- 
cation trip to Maine. Most of the trip was 
made on the yacht "Sultana," and everyone 
in the party, which included Porter Emerson 
Browne, declared that making movies in Maine 
was more like play than work. In the cast 
of the picture are Louise Huff, who plays the 
leading feminine role; Anne Cornwall, Teddie 
Gerard, Gladys McClure and Louise Lee. 

Alice Calhoun, Vitagraph's young star, has 
been taking a brief vacation, but is prepar- 
ing to return to work in a new picture as 
yet unnamed. "The Prodigal Judge," which 
has been holding the stage at the Brooklyn 
Studio, is nearing completion. 

Great interest is being shown in the visit 
of Charles Ray to New York. Although the 
star has been one of the most popular in 
all filmdom for many years, he has never be- 
fore been East and elaborate plans are being 
made for his reception and entertainment. 
Special arrangements have been made for his 
attendance at the Thanksgiving Day football 
game at Columbia University, an event which 
Ray is looking forward to with keen joy since 
he played a football player in one of his most 
recent pictures. 

Harrison Ford, whom the Talmadge sisters 
have been sharing as leading man, returned to 
the coast with them and is scheduled to ap- 
pear with Constance in the first production 
she makes in California. Moving Harrison 
westward was like moving a public library, 
for during the year he spent in the East he 
collected enough first editions to fill an entire 
room. He is looking forward to a peaceful 
run of winter — California winter, of course — 
evenings in which to read them. 


(Continued from page 33) 

everything that I will do before the camera." 

Miss Eddy has many definite things to say 
about motion picture production — and pro- 
ducers. She feels sure that the production 
lull, which has extended over many months, 
is about ended. But the activities of the pro- 
ducers are not of especial interest to her. 
She wants to be her own producer, to make 
her own pictures. Not a Helen Jerome Eddy 
company! She agrees with me that "rolling 
your own" is usually the last stage for those 
who are slipping. Her plan is to produce co- 
operatively with other players and directors. 

"I'd be glad to give my services and supply 
my own costumes, without one cent of pay 
for an interest in the picture that was being 
made. There is no reason, so it seems to me, 
why players, scenario writers, directors and 
camera men cannot get together and produce 
for themselves. I am sure that it would be 
easy to interest them in such a proposition. 

"A player — a real actor, I mean — will give 
his best under any circumstances, but some- 
bow it seems that you can do just a little 
more than your best when you know that you 
are doing it for yourself. There would be no 
more postponement of production because of 
lack of capital. The cost of making pictures 
would be reduced to almost nothing: studio 
rental, lights, sets, and salaries for extras, who 
could not afford to wait for their money, elec- 
tricians and carpenters. We'd have real 
pictures, too. What do you think of the 

"Very good, Eddy!" 

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(Continued from page 21) 

France The lilm flittered off into some in- 
consequential dog show. 

Director Hotliafel rushed forward. 

"I've got an idea," he shouted. "Stop it 
right there. End your news reel with that 

The impressive finish of the ceremonies had 
its effect. Of such inspirations are the big 
moments of show life horn. 

Finally, when the last number had been 
rehearsed. .Mr. Rothafel gave the signal to 
disperse. The work was over. It was half 
pas! twelve. Already the ticket sellers were 
in their windows and the ushers had marched 
in to take command of the aisles. 

Preparing a program as it is done in first- 
run houses of magnitude is a herculean job. 
Sometimes it's even harder, as. for instance, 
when there is a picture to which no adequate 
accompaniment suggests itself readily. Such 
a one was Martin Johnson's "Jungle Adven- 

For "Snow Blind." Mr. Rothafel used an 
overture of selections from a popular musical 
comedy. "Gypsy Airs." for Sascha Jacobsen's 
violin solo; "Rachem," for the vocal solo, and 
a Polka Pizzicato for Mile. Gambarelli's dance 
number. The short subjects, in addition to 
the news reel, included a comedy and a 
scenic. "The Sacred City of the Desert." 

In the ease of "Passion." a picture twice 
the length of the ordinary feature. Mr. 
Rothafel had a new situation and he han- 
dled it by using only the feature and a short 

For the presentation of "Doubling for 
Romeo," he used an augmented ballet special. 
"Scherezadc." from the famous offering of 
the Russian Imperial ballet. This was a 
number that the ballet had trained for weeks 
in advance, and it was one of the big fea- 
tures of the bill. 

Yon get the same attention to program at 
all the big theatres. In Los Angeles. Sid 
Grauman searches everywhere for material. 
Removed from New \ork. he makes regular 
trips to the big cities for soloists whom he 
can entice to the "City of the Angels." 

It is so everywhere — in the small towns as 
well as the large cities. The manager 
"plans" his program. The question is: Does 
the audience take notice of these fine details? 
The continued success of Mr. Rothafel and 
his type would indicate that audiences do. 



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(Continued from page 13) 

camera purposes, a short, blond man. An- 
other requisite of my favorite leading man is 
a sense of humor. There is nothing: more 
deadly in the world than an actor who always 
takes himself seriously. Motion picture mak- 
ing is a varied, strenuous and difficult pro- 
fession. It is packed with obstacles and ex- 
asperating mistakes and inconveniences. 
.Many times during a picture things happen 
that simply cry for the exercise of a sense of 
humor and of the ability to smile. If. upon 
such occasions, my over-serious leading man 
displays "temperament.' sulks, or scowls — the 
reason is devastating. 

"Not that I am keen for male Polly-annas — 
they are merely irritating. But I like tall, 
dark men who know how and when to smile." 

Lila Lee also expressed herself as partial 
to tall men. 

"I like leading men who are tall and well 
built and well dressed." said Miss Lee. 
"Perhaps I betray the fact that I am young 
and inexperienced when I lay an emphasis 
upon clothes. 'Clothes make the man.' says 
the ancient proverb, but we are taught from 
the cradle up not to believe it. I am quite 
willing to admit that an honest heart func- 
tions just as properly under a homespun shirt 
as under a starched one; I like both kinds, 
provided they are clean and look nice. But I 
don't like leading men who wear their clothes 
as if they had dressed in a telephone booth — 
unshined shoes, impressed trousers, un- 
brushed, ill-fitting coats, and top hats that 
look as if they had been discarded five years 
previously by a New York cabby. 

"One of the chief reasons I like to play 
opposite Wallace Reid in pictures is because 
he is always so well and so freshly dressed. 
I really believe Wally could lend eclat to an 
ashman's uniform. I suppose he is the world's 
favorite leading man. and really I don't 
blame the girls a bit! 

"I don't care whether my leading man is 
light or dark, but I like him clean shaven. 
Perhaps again it is my inexperience, but 1 
don't think I shall ever become used to 
pressing my tender young cheek against an 
unbarbered one or in close proximity to a 
bristling moustache. Alan Hale, who is with 
Will Rogers and me in the cast of "One 
Glorious Day.' my present picture, has a 
silky blond moustache, of which he is very 
proud. Everybody to their taste! How- 
ever, as I told him today, he is the only mous- 
tachioed actor whom I have ever liked. He's 
the villain in the picture, any way. 

"My ideal leading man is manly. Both on 
and off the set he must look and act like *a 
leading man.' using the words in their literal 
meaning. He doesn't have to be so hand- 
some. Will Rogers isn't handsome, yet 
you're attracted to him instantly, and in the 
studio or on the street he looks like a 

'somebody. 9 

"Yes. 1 think the leading man has a lot 
to do with the sort of performance I give. 
People said they liked me in 'After the 
Show." and Jack Holt, not to speak of Charles 
Ogle, are largely responsible for that." 

After lunch we sought out Dorothy Dalton. 
She looked almost like a leading man her- 
self. Her soft, brown hair was confined un- 
der a rough seaman's cap; she wore a mack- 
inaw. man's flannel shirt, trousers and hip 
hoots. We must have looked our surprise. 

"Oh. I'm not doing an impersonation of 
the 'Sea Wolf.'" smiled Miss Dalton. "I'm 
playing 'Moraii' in "Moran of the Lady 
I.elly' — Moraii is a lady, albeit a bit rough, 
and a sea captain. Leading men? I guess 
1 like clean-cut. stalwart-looking ones best of 
all. Conrad Nagel, in 'Fool's Paradise.' was 
a peach, and 1 like Rudolph Valentino, who is 

with me in "Moran,' too. You could hurdly 
imagine two more contrasting types — one is 
decidedly blond, the other dark as the night. 
So 1 can't say that I prefer any one type, as 
far as appearances go. But Mr. Valentino 
and Mr. Nagel have two things in common — 
they are perfect gentlemen and polished ac: 
tors. That's what 1 like in a leading man." 


(Continued from page 35) 

masterpiece. Of course, there have been 
one-eyed men on the screen before, but prac- 
tically all of them got that way by keeping 
one eye closed through muscular effort. This 
precludes any opportunity for facial expres- 
sion. Burton set about manufacturing a one- 
eyed villain who could act. He couldn't use 
glue or collodion to keep his eye shut, for 
those substances, applied constantly for eight 
weeks, would have either put his optic out 
or made it unbearably sore. 

So he consulted an oculist friend and in- 
duced him to prepare a harmless "stickum" 
substance. This was applied to the upper 
eyelash with a match, then fastened to the 
lower and held in place for ten minutes. 
When it is released, it slays in place for the 
day. Burton had a special preparation 
which he used to wash off the "stickum" 
when the days work was done. Water was 
of no avail. Grease paint and more "stick- 
um" gave the actor the blank-socket effect. 
The whole process of making up for his part 
in "fool's Paradise" took Burton over three 

However, he is not the only battered char- 
acter in the picture. The story requires 
Conrad Nagel to go blind, and a very con- 
vincing sightless young man he is. The effect 
of blindness, for screen purposes, is some- 
times secured by dropping milk into the eyes. 
Nagel's eyes look as if this were his formula, 
too. though I am not sure. 

Real dwarfs are sometimes used in pictures, 
especially in films which have fairy inter- 
ludes or visions. A middle-aged dwarf who. 
when be is not engaged professionally, may 
often be found carrying advertising signs 
along Fifth avenue. New York, had a small 
part in "Peter Ibbetson" and in tin- Marion 
Davies picture, "Enchantment." 

Even the women and children are not 
spared when it comes to portraying cripples 
for the screen. The sight of little Frankie 
Lee. his small legs in iron braces, running up 
the path and flinging away his crutches as he 
rushed into the arms of "The Patriarch" will 
never be forgotten by anybody who saw "The 
Miracle Man." Fontaine La Rue, who played 
a paralyzed invalid in "The Faith Healer," is 
only one of the many actresses of the screen 
who have sacrificed natural beauty of face and 
form temporarily in order to portray people 
not so fortunate. 

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■> 9 

(Continued from pugn 39) 

li is nol for me to sa\ just »lial manner 
or method will be adopted i<> insure the best 
story product in the future for adaptation for 
llie screen, but it does seem to me as though 
new and great stories will continue 1" be 
written. All the big plays have also been 
produced, but more will be written and 
scenarioized as soon as it is practical. As 
things stand now, however, the market is 
pretty well drained. 

A splendid story by an unknown writer 
may become an instant success, but as a rule 
producers select well-known bonks, stories or 
plays, by famous writers or playwrights, so 
that they can cash in on their tremendous 
publicity value. It is a decided box-office 
advantage. Millions read the popular stories 
or go to see a successful play, so, as a result, 
when they hear that a favorite book or play j 
has been picturi/cd tlicy arc keen to see it. 

Personally, I like picture stories that pos- 
sess a different or unique angle. 1 have ap- 
peared in many pictures portraying a business 
man or a social lion, and now for a change I 
would like to try some different type of 
characterization. 1 have in mind a storj or 
two that will give me the opportunity. 

"The Silver Car," in which I am starred is. 
to my way of thinking, one of the best roman- 
tic pictures of recent years. 1 enjoyed the 
making of it immensely. There was a great 
deal of outdoor work, and I drove a specially 
made car up and down the mountain side. 
It was a Balkan storj and possessed great 
dramatic possibilities. 

Looking back over the many years I have 
appeared in pictures. 1 think the role that 
afforded me most delight was that of John 

Storm in "The Christian." Here was a char- 
acter who possessed great moral strength. 
He meant to do good in the world and de- 
spite every contending force went straight to 
his mark. A good actor must feel the ride hi' 
is playing, not merely phi) it. so in John 
Storm I found a great menial lift. The play- 
ing of the splendid character did me a world 
of good. It has really influenced me often 
in decisions which 1 have since made regard- 
ing problems that have faced me. 

The characterization of John Storm was 
similar in effect to the reading of the golden 
rule and trying thereafter to live up to it- 


(Continued Iron: page I'M 

met the demands of the portrayal of a serious 
character admirably. Evidently no excess 
amount of energy or money was put into the 
making of "l nder the Lash." It is mildly 
amusing, but too unpleasant, however, for 
family entertainment. 

Doubling for Romeo — Goldwyn 

Will lingers at his best. ' "Doubling for 
Romeo" is a cleverly developed film, with 
captions by lingers, which is by way of being 
a satire on the motion picture industry. The 
story concerns Rogers, as his natural sell, 
who. in order to win his movie-mad girl, hies 
himself to Hollywood, there to learn how In 
make love. Rogers, all dressed up, trying to 
woo a fair lady before the camera, speaks lor 
itself as a situation, \fler his experience he 
has a dream in which he is Romeo and the 
lady of his heart. Juliet. The sword fighting 
that ensues is a noticeable burlesque On 
Fairbanks' work in "'The Three Musketeers." 
At all times Rogers is very funny ami the 
correlation nf his action and his captions is 
perfect. The picture was directed by Clar- 
ence Badger and the scenario, it is an- 
nounced, is by Elmer Rice. Will Rogers and 
Hill Shakespeare. 

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(Continued from page 45) 

other players include Bryant Washburn, 
Millie Schottland, Bert Sprotte, A. Budin, 
Sophie Fabian, Sonia Marcelle, E. A. Warren 
and Kate Laster. 

Lon Chaney's next for Goldwyn, "The 
Octave of Claudius," which Wallace Wors- 
ley is making, promises to be a real thriller. 
The story deals with the cruel fate of 
victims of the experiments of a fanatical sur- 
geon. Wallace Beery will be seen as an 
ape-man, one of the victims, and Lon 
Chaney will play the doctor and another of 
the victims. 

Irvin Willat, director of "Yellow Men and 
Gold,"' has had his company on location at 
Catalina Island for the past four weeks. 
Catalina is the favorite week-end resort of 
these parts, and, because the summer crowds 
have deserted it, is at its best this season of 
the year. Perhaps that explains the delay; 
it seems to me that the whole island could 
have been photographed three times in two 
weeks. The company includes Helen Chad- 
wick and Richard Dix. who will be featured. 

Rex Ingram, Metro's busiest and greatest 
director, has completed "Turn to the Right," 
and is now hard at work with his prepara- 
tions for his next production. "The Prisoner 
of Zenda," which, when it was first made by 
Cecil B. DeMille and Oscar Apfel. was the 
second picture to be made in California. 
Alice Terry, who recently married Mr. In- 
grain, will play the leading role, and the rest 
of the cast includes Lewis Stone, -who will 
play two parts, the King and Rudolf Rassen- 
dyll; Robert Edeson. Edward Connelly. Eric 
Mayne. Malcolm McGregor and Lois Lee. 

Bert Lytell, who hurt his arm so badly in 
the fight scenes of his last picture, "The Right 
That Failed." that he has been unable to play 
tennis since, has started a new production 
with Bayard Veiller. The story is based on 
Justus Miles Forman's novel, "Tommy Car- 
teret." Maxwell Karger is directing Alice 
Lake in "Kisses," an original story by May 
Tully. Harry Meyers heads the supporting 
cast, which includes Dana Todd, Edward 
Jobson. Mignon Anderson. John MacKinnon, 
Eugene Pouyet and Edward Connelly, who 
has been in Rex Ingram's last five pictures. 
The casts for Gareth Hughes's "Stay Home" 
and Viola Dana's "The Five Dollar Baby," 
directed by George D. Baker and Harry 
Beaumont respectively, have not been an- 

At the Thomas H. Ince studios. Douglas 
MacLean has started on. a film version of 
Willie Collier's stage play, "The Hottentot." 
Dal Andrews, who adapted the play for the 
screen, will make his debut as a director with 
this production. Andrews has been closely 
associated with Ince since the Triangle days. 
but all of his work has been confined to the 
editorial department. Raymond Hatton. fea- 
tured player in Goldwyn's recently completed 
"His Back Against the Wall," has been se- 
lected for the role of the butler. Ray has 
a splendid opportunity in this part, if the 
story has not been too much changed in pre- 
paring the continuity, as Donald Meek, crea- 
tor of the role on the stage, made the butler 
the comedy lead of the play. 

Latest among the fads at Hollywood is the 
Ladies' Knickers Club. Katherine MacDon- 
aid. Miriam Cooper (Mrs. Raoul Walsh), 
Dorothy Phillips (Mrs. Allan Houlubar), 
Flora Parker (Mrs. Carter DeHaven), Louise 
Glaum, Madge Bellamy, Natalie Talmadge, 
Marguerite De LaMotte, Jacqueline Logan. 
Barbara Castleton, Colleen Moore, Pauline 
Stark. Phyllis Haver, Harriett Hammond, 
Kathryn McGuire and Mildred June are 
among the prominent screen folk who are re- 
ported to have bought knickers or knicker- 
bocker suits at one of the larger Los Angeles 
shops in one week. 

Samuel Goldwyn's plea for new faces may 
have brought some, but it brought one old 
one, too. Samuel Yetter, ninety-eight years 
old, a veteran politician from Illinois and a 
campaigner for Lincoln in 1860 and 1864. is 
to play an important part in a forthcoming 
Goldwyn picture. Mr. Yetter had never seen 
a studio prior to his recent visit to the coast, 
and he made his first trip to a film cannery 
with his nephew, Raymond McKee. The 
casting director met him and offered him a 
part, which he immediately accepted. 


(Continued from page 19) 

"That means more intense thought for the 
actor to project his personality in the com- 
paratively fewer moments he has on the 
screen than on the stage, and a decline in 
subtlety, though subtle effects, I believe, could 
be achieved on the films as in the theatre if 
the director didn't use the time-clock system. 
Moreover, with the long waits and the incon- 
secutive course of photographing the scenes, 
a mood is not only very hard to 'snap into' 
at a moment's notice, but also to keep from 
oozing out at your finger tips once you have 
it. Whenever there was an interruption in a 
scene at first, I used to go into a corner by 
myself, to keep that same state of mind, and 
if any one spoke to me. I felt like murdering 
him. But now that's over, and I step into and 
out of a part as though it were an automo- 

Madame Olga Petrova, now appearing over 
a couple of broken ribs in "The White Pea- 
cock," a spoken play of her own designing. 
did not find it so difficult to dive right into 
an emotion at a moment's notice in the 
studio, as to find out what on earth the whole 
thing was about. 

"When I first went into pictures," she said, 
"the players weren't allowed to see the script, 
and instead the director would simply say to 
you. 'Your husband is dead in the next room 
— now act accordingly.' Well, you didn't 
know whether you were supposed to be sorry 
or glad, and it might make a difference, even 
with husbands. Did I have to fight to get a 
chance to look at the script? My God!" 
And the statuesque Russian clutched a hand 
on her coiffure. 

"Some day," she resumed, growing calmer, 
"I think all scenarios will be written like 
stage plays, with sufficiently full dialogue and 
stage directions to let the actor know where 
he is, instead of having everything, so to 
speak, simply fall on him. No, I never mind 
the great number of re-takes, because mere 
film is the cheapest thing there is, and one 
never runs out of expressions." 

The greatest divergence of the cinema from 
the theatre appeared to Vivian Martin, whose 
dimples are current in the stage farce, "Just 
Married," to be that in the studio emotions 
were snatched up piecemeal. 

"Of course, it's rather obvious to say that 
an audience stimulates you," remarked Miss 
Martin, "but they do keep you on the job 
night after night. The principal distinction 
in film acting to me is that the story is cut 
up into little sections that are shifted about, 
which often makes it difficult to keep track 
of just what is happening to you. I think, 
though, if you strive for sincerity, on the 
screen as on the stage, it will carry you along 
swimmingly, regardless of whether you feel 
in the studio you are trying to act out a 
Chinese puzzle." 

So now you know how to be either a great 
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